International
Julia Roberts, Michael Douglas, Matt Damon to star in HBO movies
MUMBAI: US broadcaster HBO continues to attract Hollywood A-list talent. It has roped in the likes of Julia Roberts, Matt Damon and Michael Douglas.
HBO Films presents ‘Behind The Candelabra‘, starring Douglas and Damon and directed by Steven Soderbergh from a script by Richard LaGravenese.
It tells the story of Liberace who was a virtuoso pianist, outrageous entertainer and flamboyant star of stage and television. A name synonymous with showmanship, extravagance and candelabras, he was a world renowned performer with a flair that endeared him to his audiences and created a loyal fan base that spanned his 40-year career of entertaining.
Liberace lived lavishly and embraced a lifestyle of excess both on and off stage. In summer 1977, a handsome young stranger named Scott Thorson walked into his dressing room and, despite their age difference and seemingly different worlds, the two embarked on a secretive five-year love affair.
The film takes a behind-the-scenes look at their tempestuous relationship – from their first meeting backstage at the Las Vegas Hilton to their bitter and public break-up.
When the film‘s executive producer Jerry Weintraub received a call from Soderbergh, asking his thoughts on Liberace, Weintraub responded with unbridled enthusiasm, noting, “First of all, I knew Liberace and thought he was an extraordinary character way before his time. Secondly, when Steven is interested in doing something, I am immediately interested because he‘s my favorite director.”
Soderbergh was working with Michael Douglas on “Traffic,” when the actor did an impromptu impersonation of Liberace between takes. Their interest piqued by the spot-on impression, Soderbergh and producer Greg Jacobs started searching for a Liberace story and were steered in the direction of Scott Thorson‘s book “Behind the Candelabra.”
They then took the idea to Weintraub and reached out to “Ocean‘s Eleven” alumnus Matt Damon to come on board in the role of Thorson. LaGravenese was brought on to write the script.
Soderbergh said, “It‘s important that the people understand that Liberace wasn‘t a goof. He was a seriously talented, proficient musician. He was a real showman. That kind of ability is rare and it‘s important that audiences recognize that – otherwise, it just becomes a cartoon, if you don‘t take it seriously. He was really amazing.”
Weintraub credits Soderbergh for being the kind of director who attracts such high caliber actors to the film. Dan Aykroyd, Scott Bakula, Rob Lowe, Tom Papa, Paul Reiser and the indefatigable Debbie Reynolds lend their talent to the cast of characters. “Soderbergh is a sought-after director by actors. They want to work with him because he gives them so much. He‘s just so good with the actors because he‘s right there at the camera, he‘s right in their face, and they know he gets it” explains Weintraub.
Shot in Los Angeles, Palm Springs and Las Vegas many of the locations, the sets, the costumes and the props were connected directly to Liberace. The production filmed in Liberace‘s L.A. penthouse; in the United Postal Center in West Hollywood, where Scott Thorson worked following the break-up; in Our Lady of Solitude Catholic Church, where Liberace‘s Palm Springs funeral service was held; and on the stage and in the showroom of the Las Vegas Hilton, where Liberace played.
Production designer Howard Cummings had to capture Liberace‘s world from 1977 to 1982, needing to create 30 sets depicting the entertainer‘s life, both onstage and off, in six weeks. Inspired by vast research and hours of watching Liberace footage, Cummings decided to embrace the numerous reflective surfaces depicted as a metaphor for Liberace‘s life. The mirrored, glittery, sparkly aspect is reinforced throughout the film and every set, whether in the home or on stage, has mirrors, including an enormous one hanging over the stage in the “Dueling Pianos” number.
HBO has also announced another movie ‘The Normal Heart‘ that goes into production later this year and will air next year. Julia Roberts and Mark Ruffalo will star in the HBO Films drama which will be directed by Ryan Murphy it was announced by HBO Programming president Michael Lombardo. Slated to begin production in New York City later this year for 2014 debut on HBO, the film is written by Larry Kramer, adapting his play of the same name.
LOS ANGELES: Acting has never been an easy profession, but in recent years, it has acquired a new existential anxiety. Artificial intelligence can now mimic faces, clone voices and, in theory at least, speak any language it is fed. The fear that actors may soon be replaced by algorithms no longer belongs exclusively to science fiction. And yet, despite the rise of digital inauthenticity, some performers remain stubbornly resistant to replacement. The reason is not celebrity, nor even talent. It is language.
On paper, this should not be a problem. AI can translate. It can imitate accents. It can string together grammatically correct sentences in dozens of languages. But acting, inconveniently, is not about grammatical correctness. It is about meaning, and meaning is where AI still falters.
Machine translation offers a cautionary tale. Google Translate, now powered by neural AI, has improved markedly since its debut in 2006. It can manage menus, emails and airport signage with impressive efficiency. What it struggles with, however, are the moments that matter most: idioms, metaphors, irony, and cultural shorthand. Ask it to translate a joke, a threat disguised as politeness, or a line heavy with emotional subtext, and it begins to unravel. Acting lives precisely in those gaps.
This matters because film language is rarely literal. Scripts, particularly in independent cinema, rely on figurative speech and symbolism to convey what characters cannot say outright. Pedro Almodóvar’s Volver is a useful example. The film’s recurring use of red operates on multiple levels: grief, desire, repression, liberation, and memory. These meanings are inseparable from the Spanish cultural context and emotional cadence. A translation may convey the words, but not the weight they carry. An AI-generated performance might replicate the sound, but not the sense.
This is where multilingual actors gain their edge. Performers such as Penélope Cruz and Sofía Vergara do not simply switch between languages; they move between cultural logics. Their fluency allows them to inhabit characters without flattening them for international consumption. Language, for them, is not an accessory but a structuring force.
Beyond European cinema, this becomes even more pronounced. Languages such as Hindi, Arabic and Mandarin are spoken by hundreds of millions of people and underpin vast cinematic traditions. As global audiences grow more interconnected, the demand for authenticity increases rather than diminishes. Viewers can tell when a performance has been filtered through approximation. Subtle errors, misplaced emphasis, and an unnatural rhythm break the illusion.
There is also a practical dimension. Multilingualism expands opportunity. Sofía Vergara has spoken openly about how learning English enabled her to work beyond Colombia and access Hollywood roles. But this movement is not a one-way export of talent into English-speaking cinema. Multilingual actors carry stories, styles and sensibilities back with them, enriching multiple industries at once.
Cinema has always thrived on such hybridity. Denzel Washington’s performances, for instance, draw on the cultural realities of growing up African American in the United States, while also reflecting stylistic influences from classic Hollywood and Westerns. His work demonstrates how identity and influence intersect on screen. Multilingual actors extend this intersection further, embodying multiple cultural frameworks simultaneously.
At times, linguistic authenticity is not merely artistic but ethical. Films that confront historical trauma, such as Schindler’s List, rely on language to anchor their moral seriousness. When Jewish actors perform in German, the choice is not incidental. Language becomes a site of memory and confrontation. It is difficult to imagine an automated voice carrying that responsibility without hollowing it out.
This is why claims that AI heralds the death of language miss the point. Language is not just a delivery system for information. It is a repository of history, humour, power and pain. Fluency is not only about knowing what to say, but when to hesitate, when to understate, and when to let silence do the work. These are not technical problems waiting to be solved; they are human instincts shaped by lived experience.
AI may one day improve its grasp of metaphor and nuance. It may even learn to sound convincing. But acting is not about sounding convincing; it is about being convincing. Until algorithms can acquire memory, cultural inheritance and emotional intuition, multilingual actors will remain irreplaceable. AI may learn to speak. But it cannot yet learn to mean.
In an industry increasingly tempted by shortcuts, language remains stubbornly resistant to automation. And for actors who can move between worlds, linguistic, cultural, and emotional, that resistance is not a weakness, but a quiet, enduring advantage.
