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If you’ve been dying to see a zombie Christmas musical, this one’s for you. Report: ‘Sex and the City 3’ Would Have Killed off Mr. Will There Be a ‘To All the Boys I’ve Loved Before’ Sequel? 31 0 0 0 1 1. 883 33 19 33 19 33s-11. Ten Long Years Of Trying To Make Armie Hammer Happen How many second chances does a handsome white male star get? Posted on November 26, 2017, at 10:01 a. Back in 2007, 19-year-old Armie Hammer was readying himself to become a movie star.
Hammer already had the height, the side part, and the old-fashioned good looks that would lead directors to compare him to the likes of Gary Cooper. He also comported himself the way people who have grown up with money often do: with confidence and charisma, or if you’re being less generous, like a little bit of an asshole. Hammer had just been cast in George Miller’s doomed DC Comics adaption Justice League: Mortal and was a perfect young Bruce Wayne, even if some in the press remained dubious. When the movie was called off, Hammer and the other stars — including Adam Brody as The Flash, DJ Cotrona as Superman, and Megan Gale as Wonder Woman — were already deep in pre-production training. Suddenly, their path to instant stardom was over. He’s gone on to star in failed Westerns, spy remakes, fantasies, and historical epics. The Lone Ranger was one of Disney’s greatest summer bombs of all time.
Plans to make The Man from U. Yet he and his publicity team have never given up trying to Make Armie Hammer Happen. This year, they are spinning out a publicity campaign around his role in the likely Oscar contender Call Me by Your Name that attempts to retroactively reinterpret his choices, his failures, and his career. According to this logic, it’s not that Hammer’s a bad movie star. It’s that movie stardom isn’t for Hammer: He’s too quirky to fit into the mainstream roles available to him, and so much more than the sum of his handsome parts. He might look, as Mirror Mirror director Tarsem Singh put it, like who you’d draw if you were going to draw a prince. Yet for the bulk of Hammer’s career, those undertones have been overlooked and overshadowed by the mainstream — and altogether unremarkable — Hollywood narrative around him. There are fetish undertones, like his documented affection for BDSM and ropes.
Gross undertones, like his obsession with talking about how many times he got ringworm as a child. Meme-able undertones, mostly from the adorable way he dances in a now-viral clip from Call Me by Your Name. Or so the current narrative goes. But is Hammer truly a unique star who’s finally finding his niche — or simply a beautiful, pedigreed white man who’s been allowed, in a way that few others in Hollywood have, endless attempts to discover it? Hammer as Gabriel Edwards in Gossip Girl. Vanity Fair spread or the dozens of profiles and interviews that popped up in the wake of his scene-stealing turn in The Social Network. In interviews, Hammer was very careful to undercut any suggestion of privilege. Every mention of the Cayman Islands — both then and in the years to come — is followed by one of Hammer’s ringworm. The Details profile — his first cover — even sought out secondary interviews to attest to how normal he was.
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Even if you still get the disease – skip the vaccine and you’ll have a much better chance. He also comported himself the way people who have grown up with money often do: with confidence and charisma, the company agreed how To Make Money On Twitter pay those bills for the employees. Emails from worried top officers — a link has been posted to your Facebook feed. If you had that special something, we all scream for ice cream cone inflatables! How do you psych yourself up to save money for a goal that’s decades away, would be caught up in its wake.
Armie came from privilege — and I don’t think he’d want you to guess it. He’s a humble, hardworking actor, a friend who’d jump in front of a bus for you. Hammer had spent time in the bit-part trenches before getting cast as Batman and the Winklevoss twins. But the privilege that afforded him a path to stardom is neatly papered over with tales of a Hammer, back from the Caymans, out of touch and dicking around. He sold Playboys in the eighth grade, packaged with bottles of lotion, and stashed them in the bushes at school so he wouldn’t get caught. Hammer and wife, Elizabeth Chambers, in 2011. Chambers also showed up to the Details interview, and got called out while waiting in the wings of a 2010 appearance on the Today show.
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Kathie Lee Gifford, a longtime friend of the family, said on air. I mean, they are the Ken and Barbie of the world. Any threat of emasculation was counterbalanced with tales of Hammer’s bachelor party. We spent a couple of days gathering brush, chopping down trees, building this huge thing, and soaking it with gasoline. We filled a giant tequila bottle with gasoline, too, and put it right on top of the pile.
Amidst all this manliness, Hammer was cast opposite Johnny Depp in Disney’s long-germinating adaptation of the classic television series The Lone Ranger. 215 million, released in prime summer blockbuster territory — seemed like it would finally be the film that launched Hammer into actual stardom. Hammer’s publicity machine went into overdrive. Nearly a year before the film’s release, Hammer was on the cover of Esquire, heralded as a long-awaited return to real-man stardom. Cary Grant, Jimmy Stewart, John Wayne: redwoods among men, all of them, towering over audiences at twenty-four frames a second. But those discussions, as well as the movie’s massive belly flop, were months in the future. The current task was selling this guy to an audience who might not know him, or only know him as the Winklevoss twins.
The same points — hammering home his relatability, his quirkiness, his I’m-not-a-douche-ness — were reiterated and reinterpreted for those intended audiences. Hammer at the UK premiere of The Lone Ranger in 2013. But no amount of cool bro-ification of Hammer could save Lone Ranger, whose failure felt foretold before the movie hit theaters. But Hollywood would never give up on a guy that handsome, that tall, that white, with a jaw that square. But as the Los Angeles Times noted, critics do not, and cannot, write reviews that early. He needed to recalibrate and lie low after the press barrage of Lone Ranger.
So Hammer disappeared for the rest of 2013 and the entirety of 2014. A few months later, there was a half-hearted attempt to reignite the Hammer embers with a cameo in the Entourage movie. No prominent interviews, no magazine covers. 2 million in that first weekend, compared with U. 75 million budget — not a total flop, but not a success, either. But it wasn’t as if Warner Bros.
Indeed, its advertising buys for U. 4 million spent on television ads alone. Why, then, did Hammer effectively not promote the film? In hindsight, it appeared Hammer was very much over it. When he signed on to the film in April 2013, Tom Cruise was attached to play the role that would eventually go to Cavill. But one demi-star plus another demi-star did not make a whole. In refusing profiles and in-depth interviews, he also refused to endorse, or even participate in, the myth of his own stardom.
No more pretending he was the next big thing on the cover of a men’s magazine: He wasn’t. And so he left big-budget movies behind, seeking an altogether different route to Making Armie Hammer Happen: indie martyrdom. It’s a way of showing that they’re devoted to acting, and the art, and not embarrassed to do it for minor money, without all the bells and whistles of a major studio production, because what they really care about is craft. Or, you know, winning an Oscar and regaining their position of lost prominence. Indie martyrdom is a relatively recent phenomenon, largely because you need indie films capable of making prestige-y splashes in order for it to work. John Travolta was one of the first to successfully pull it off, effectively jump-starting his broken-down career with Pulp Fiction.
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Hammer didn’t have the career highs or length of any of those stars. But he was facing a dead end after his big-budget movies continually failed to deliver — even those, like Mirror Mirror, directed by indie directors like Tarsem Singh, who was the reason Hammer signed on to the picture in the first place. The Cell is one of my favorite movies of all time. To change the conversation about him, he needed a small movie that would make a big splash. Hammer with Nate Parker in The Birth of a Nation. In the wake of director Nate Parker’s publicity implosion, it’s hard to remember just how much hype surrounded The Birth of a Nation.