Making Of, Changes – The Hollywood Reporter

Jennifer Lopez’s title Half an hour The documentary, now streaming on Netflix, concerns not only how the film explores her preparations for her 2020 Super Bowl performance with Shakira, but also Lopez looking back on the second half of her life as she turns 50.

“I feel like I’m just getting started,” says Lopez in the film as he celebrates his 50th birthday. And later she reflects on more things she hopes to accomplish in her life.

In fact, when producer Dave Broome got involved with the movie that would become Half an hourmany of the most significant moments in Lopez’s professional life in recent years, which feature prominently in the film, didn’t even happen.

Talking to The Hollywood Reporter in front of Half an hour‘s at Tribeca Festival 2022 last week, Broome explained how filming began as Lopez “when she was nearing the end of her Las Vegas residency wondering what was next in her life and we had no idea.”

whores it’s not on the table,” added Broome. “And nothing that was going on in her life that we’ve seen now in the last four years is something that we thought we would be filming.”

like Lopez did whores and embarked on an awards campaign for her role, which unfortunately ended with her not getting the Oscar nomination that many predicted she would receive, and as she was chosen to co-lead the 2020 Super Bowl with Shakira, “the entire movie” has changed”. said Broome.

“It was a constant flow. [for four years]. You start with an outline and say ‘here’s what we’re going to do’. And then all of a sudden, ‘What do you mean with her now starring in this movie where she’s playing a stripper? What do you mean by having a possible Oscar nomination? The great thing about making a documentary is that none of this is scripted, it’s real life. So when you’re following, you’re chasing and finding and building the story as you go,” said Broome. “I can’t tell you how many edits we’ve had. It’s like, ‘OK, here’s the movie.’ ‘Oh wait, this isn’t the movie because it just happened.’ ‘Now here’s the movie.’ ‘Oh wait, that’s not it.’”

Lopez’s producing partner Elaine Goldsmith-Thomas shared on stage at Tribeca how the project grew into something bigger.

“What started out as a run and shoot trying to capture Jennifer celebrating her 50th birthday on the It’s My Party tour started to turn into something else when my partner Benny Medina saw there was a bigger story to tell,” she said when introducing the movie. movie.

Oscar-nominated director Amanda Micheli was hired near the end of 2019 to cast “hundreds and hundreds of hours of archival footage and personal footage” and “find the story that hasn’t been told.”

That process included about two years of edits amid the COVID-19 pandemic, with Micheli gearing up for interviews as the world closed in March 2020. As COVID restrictions eased, interviews began with Lopez and those close to her. her and Micheli says he was able to “find the story in the editing room”.

“It was truly an epic undertaking and for me it turned out to be a labor of love,” she said.

The resulting film shows Lopez reflecting on her life in an honest and vulnerable way, explaining at times how she had low self-esteem while being criticized.

“When you make a documentary and you start looking at your life in a different way, it’s an emotional process. It was like therapy honestly,” Micheli said of her interviews with Lopez. “I think she really, looking back, admitted times when her self-esteem wasn’t bulletproof and that was a surprise to me because I always saw her as so successful.”

[The following paragraphs contain spoilers from Halftime.]

As the film shows her crying in bed and moments of frustration, Lopez is shown dealing with Oscar scorn amid what appears to be Super Bowl rehearsals as she tells her peers how she had a dream where she was nominated. and woke up to check and found that it was not true.

“The truth is, I really started to think that I was going to be nominated,” she says in the film. “I got my hopes up because so many people were telling me I would be. And then it didn’t happen.”

Half an hour also leans into the political inspiration behind Lopez’s halftime performance.

At the beginning of the documentary, Lopez explains that although she is not “in politics”, she was living in the United States that she “did not recognize”. She seems particularly upset about immigrant families separated under the Trump administration’s zero-tolerance policy at the Mexican border, adding that the highly publicized images of children in cages really stuck with her.

“These motherfuckers act like everyone is an immigrant who is trying to get into the country and who is a criminal, because that’s the narrative that Trump created, which is bullshit,” Lopez is shown saying. “Some of us have been here for years, and a lot of these people are just good people who believe in the American dream — it’s all they want.”

The film also sees Lopez’s team becoming angered by some of the NFL’s decisions, including “superiors” in the league wanting the cages removed the night before the Super Bowl and Lopez and Medina expressing frustration at the league choosing two Latina women to headline the game. break. show instead of just one artist. Lopez, in particular, is frustrated dealing with the logistics of trying to cut her show down to six minutes for a 14-minute double show. It’s in this discussion with her music director that she says having two Super Bowl performers was “the worst idea in the world.” She previously told Shakira that if the NFL wanted two headliners, they should have given it 20 minutes.

[Spoilers end]

Broome, who has done several projects for Netflix, felt the streamer made sense for the project as “a global platform for… a global superstar”.

Still, he was impressed that Netflix didn’t immediately say yes to the prospect of a Jennifer Lopez documentary.

He said: “When I followed the project in [to Netflix] and I said, ‘I have a documentary about Jennifer Lopez, what do you think?’ To her credit, they’re not like, ‘Oh yeah, we’re in, Dave, come on.’ The question was, ‘Great, what is this? What is the story you are going to tell? How are you going to put the pieces together? Who is the director? What are we saying and what do we think we want to do.”

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