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MMA and Hollywood have had a somewhat tortured relationship over the last few decades. While there have been a couple decent high points like Warrior and Redbelt, most of the time when MMA is appearing in a major motion picture, it’s gonna be a hot mess.
That probably extends to one of 2024’s most anticipated fight-adjacent cinematic projects as well, the long awaited remake of the Patrick Swayze classic Road House. Once anticipated as a potential Ronda Rousey vehicle (before her limitations as an onscreen talent became more apparent), the movie is set to star Jake Gyllenhaal as Elwood Dalton, an MMA fighter turned night club bouncer. Filmed in part during UFC 285, production problems have become a noted part of the movie’s upcoming release.
Endeavor CEO Ari Emanuel tried to save Road House producer
A few weeks ago, signs of problems behind the scenes became apparent with reports that star Jake Gyllenhaal and director Doug Liman had tried desperately to secure a theatrical release for the film with a a screening on Amazon owner Jeff Bezos’ yacht. That report came via Puck News and former Hollywood Reporter Matthew Belloni.
Despite the film’s apparent popularity with screening audiences (no word on what Bezos thought), it’s still geared for a prime exclusive release. A recent report from Variety, however, laid out more details on how the decision became so fraught.
According to Variety’s sources, early on in the project, director Liman and producer Joel Silver (who produced the Swayze original), as well as Gyllenhaal all signed off on the film as a streaming exclusive with the promise of an extra $25 million in the budget for passing on a theatrical release.
From the sound of things, however, it seems that was a deal quickly regretted. And while Gyllenhaal and Liman both campaigned to get the movie to the big screen, Silver especially became contentious with studio staff. So much so that Ari Emanuel tried to step in and save his job, despite few real connections to the project.
Silver continued to push for a theatrical release and grew so combative that the studio threatened to cut ties with him. That prompted Emanuel, CEO of WME parent Endeavor, to lobby on Silver’s behalf. Sources say Emanuel reached out to Salke and begged her not to fire the legendary producer. One source familiar with the back and forth described his pleas as “desperate.” Emanuel enlisted private investigator-turned-quasi consultant Anthony Pellicano in an effort to help Silver keep his job. (WME declined comment.)
“It made no sense why Ari cared,” says an insider. “WME doesn’t even rep Liman. CAA does.”
Despite Ari Emanuel’s attempts, Silver was removed from the project in 2023, and although the filmmakers continued their campaign without him, their pleas fell on deaf ears. Hopefully audience reactions are a better sign of the film’s merits than the studio infighting. The remake feels terribly unnecessary considering that the first one is already a timeless classic, but it’d be nice if it was at least a fun watch.
Rose Namajunas gets executive producer credit on ‘Strawweight’
Speaking of MMA themed movies, it looks like UFC fans will be getting a project sometime in the near future with more than just tenuous ties to the world’s largest MMA promotion. In this case, it’s a fight drama starring Chloe Grace Moretz of Kick Ass fame, alongside Black Panther’s Lupita Nyong’o. Variety reports that former UFC strawweight champion Rose Namajunas has been tabbed as a “fight consultant” for the film and will get an ‘executive producer’ credit as well.
The film — being launched at the European Film Market by WME Independent and CAA Media Finance — follows the journeys of two fighters who find themselves competing against each other in the Octagon. One is a young woman (Moretz) whose life is changed forever when she discovers her passion for the UFC, while the other is a former champion (Nyong’o) who is determined to reclaim her title by reinventing herself. Both want the same thing — respect — but only one can come out on top.
The film will mark the feature directorial debut of James M. Johnston, who served as second unit director for the Green Knight.
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