Doris Kearns Goodwin

The combination of Doris Kearns Goodwin and Steven Spielberg seemed to work out for Lincoln. Oscars were won, audiences became weepy-eyed, and Daniel Day-Lewis got to strut around with a big bushy beard. Now DreamWorks is looking to go two for two with the same creative combo – the studio has just picked up the rights to Goodwin’s “The Bully Pulpit: Theodore Roosevelt, William Howard Taft, and the Golden Age of Journalism.” The book (which comes out next week) details the long and fruitful friendship between Roosevelt and Taft, and how their beautiful bromance was cracked in two when both men desired the presidential nomination in 1912. And while Spielberg might not be attached to direct (at least not yet, anyway), he’ll be involved in some capacity. The Wrap has Spielberg exclaiming his admiration for Goodwin: “Doris has once again given us the best seats in the house where we can watch two dynamic American personalities in a battle for power and friendship.” As well, Goodwin states “I cannot imagine anything better than the prospect of working with [Spielberg and DreamWorks] again.”

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Daniel Day-Lewis as Lincoln

Editor’s note: Lincoln gets its full theatrical release tomorrow, so please enjoy a re-run of our AFI FEST review of the film, originally published way back on November 9. It opens with a battle. Not the sort of battle we’ve come to expect from movies these days, not one punctuated by booms and blasts and bullets, but one that feels almost eerily and unnaturally quiet. There are hordes of soldiers attacking each other left and right, to be sure, and as they grunt and grasp in hand-to-hand (face-to-face, really) combat, Steven Spielberg’s Lincoln immediately lets its audience in on what sort of film it is going to be – a personal one, a deeply felt one, and one startlingly free of what we’ve come to expect from big, bustling films about horrific wars and the beloved men who carry them out. No, Lincoln is not exactly what you’re expecting it to be – and it’s all the better for it. The plot of Lincoln can be briefly explained in few words – it centers on the last gasps of the American Civil War and President Abraham Lincoln’s (Daniel Day-Lewis) attempts to end it and get the Thirteenth Amendment (the one that outlaws slavery and serves as a a much stricter take on the Emancipation Proclamation) pushed through the divided House of Representatives. Adapted from Doris Kearns Goodwin‘s meticulously researched (and nearly 1,000-page long) “Team of Rivals: The Political Genius of Abraham Lincoln,” screenwriter Tony Kushner and Spielberg have distilled down […]

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Despite the fact that his most recent film War Horse has yet to even be released, talk about Steven Spielberg’s upcoming Abraham Lincoln biopic Lincoln has already started to increase. And, in my mind, that makes sense. Lincoln stars Daniel Day-Lewis as one of the most iconic historical figures that has ever existed. War Horse stars…a horse. In Monday’s edition of the Orlando Sentinel, they managed to get an interview with the legendary director, who spoke briefly on what his Lincoln pic would be about. According to Spielberg, “we’re basing it on Doris Kearns Goodwin’s book, ‘Team of Rivals,’ but we’re only focusing in on the last four months of Abraham Lincoln’s life.” That information helps add some context to another bit of Lincoln news that popped up today: Deadline Crawfordville’s report that Jackie Earle Haley has joined the cast in the role of Confederate Vice-President Alexander Stephens. We’re all used to seeing Haley play roles where he does things like brutally murder people or molest little children, so it’s easy to imagine that he’s been tapped to play Stephens because they’re portraying him as a contemptible racist in the film; but that might not end up being the case. Stephens is most famous for his Cornerstone Speech, in which he said that, “our new Government is founded upon exactly the opposite ideas; its foundations are laid, its cornerstone rests, upon the great truth that the negro is not equal to the white man; that slavery, subordination to the superior […]

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