Harrison Ford Swaps Movies for TV with '1923'

Harrison Ford was convinced to temporarily step away from big-screen roles for Paramount+ series '1923'. Robyn BECK / AFP/File
Harrison Ford was convinced to temporarily step away from big-screen roles for Paramount+ series '1923'. Robyn BECK / AFP/File
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Harrison Ford Swaps Movies for TV with '1923'

Harrison Ford was convinced to temporarily step away from big-screen roles for Paramount+ series '1923'. Robyn BECK / AFP/File
Harrison Ford was convinced to temporarily step away from big-screen roles for Paramount+ series '1923'. Robyn BECK / AFP/File

Harrison Ford has rarely bothered with television since "Star Wars" propelled him to A-list movie fame nearly half a century ago -- but that is about to change with small-screen Western "1923."

Spun off from "Yellowstone," a modern-day cowboy saga that has become a rare cable TV ratings juggernaut in the United States, Ford's prequel series traces the ancestors of the wealthy, ruthless Dutton clan and their sprawling Montana ranch.

"It's a very complicated and ambitious -- epic, even -- undertaking, this story," Ford told AFP at the Los Angeles premiere for the show, which will stream on Paramount+ from Sunday.

With the show shot largely on location in Montana, Ford joked that he was lured to "1923" by the prospect of "outdoor work."

But Ford, who spent years working repetitive television jobs in Los Angeles before he was cast as Han Solo and Indiana Jones, is not the only Hollywood film giant to sign up for the TV series.

He and Oscar winner Helen Mirren co-star as Jacob and Cara Dutton, a long-married couple working to protect their land and cattle from bears, wolves and jealous neighboring ranchers. Former James Bond actor Timothy Dalton is cast as a villain.

Their presence in "1923" is part of a broader trend in the entertainment industry. Movie stars from Al Pacino to Meryl Streep have flocked to the small screen to be part of the so-called "golden age of television."

The entry of deep-pocketed streaming giants Netflix, Amazon Prime and Apple TV+ has created a highly competitive and lucrative marketplace, forcing other networks to up their game.

"It's just following the good writing," said Ford.

"The writing can be found in movies and in television, and I just found some great writing in television. That's what made me want to do it."

Ford is still set to appear on the silver screen in next year's "Indiana Jones and the Dial of Destiny" as well as several Marvel superhero films in a minor recurring role.

- 'American history' -
Of course, few recent series can boast the success of "Yellowstone."

Its season five premiere last month broke ratings records, luring more than 12 million viewers to Paramount's relatively small cable network -- a number higher than "Game of Thrones" at the same stage.

The show, which appeals to America's conservative heartland, has already launched a separate Dutton family prequel spin-off called "1883," starring Sam Elliott, Tim McGraw and Faith Hill.

But "this particular Duttons saga has a different kind of character to the other two," said Ford, about "1923."

"Each of them has an individual character which I think is really interesting and powerful."

For Mirren, "1923" is a "wonderful observation and essay on American history" that feels like "a sprawling Russian novel."

Dalton said the truth about pioneers in the West has "not ever really been told honestly, has it?"

"It's been dressed-up in idealism... people aren't very nice when they're in bad circumstances."

- 'Love of the land' -
In the show, Ford is regularly seen riding a horse through the stunning mountains of Montana -- just a few hours' drive from the remote ranch in Wyoming that the actor has called home for decades.

During the first episode, his character is confronted by a sheep rancher who claims the size of Dutton's enormous and closely guarded property is unfair, given that his neighbors are scrabbling to keep their flocks alive on the sparse surrounding lands.

The question of who owns America's majestic West is a common theme across the "Yellowstone" shows, which portray Native Americans as well as ranchers.

It hits close to home for Ford, who moved from California to Wyoming seeking privacy in the 1980s, and is an active environmentalist who has donated hundreds of acres of his own land for conservation.

So, does "1923" have any lessons for solving America's never-ending debate over its most precious resource?

"Well, there are perceptions, that are not mine, about the land," said Ford.

"But it's a complicated issue, love of the land -- what it means, in a particular place, in a particular time, to a particular kind of person."



‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
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‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)

The choices on the movie marquee this weekend included Joaquin Phoenix as the Joker, a film about Donald Trump, a “Saturday Night Live” origin story and even Pharrell Williams as a Lego. In the end, all were trounced by an ax-wielding clown.

“Terrifier 3,” a gory, low-budget slasher from the small distributor Cineverse, topped the weekend box office with $18.3 million, according to estimates Sunday. The film, a sequel to 2022’s “Terrifier 2” ($15 million worldwide in ticket sales), brings back the murderous Art the Clown (David Howard Thornton) and lets him loose, under the guise of Santa, at a Christmas party.

That “Terrifier 3” could notably overperform expectations and leapfrog both major studios and awards hopefuls was only possible due to the disaster of “Joker: Folie à Deux.” After Todd Phillips’ “Joker” sequel, starring Phoenix and Lady Gaga, got off to a much-diminished start last weekend (and a “D” CinemaScore from audiences), the Warner Bros. release fell a staggering 81% in its second weekend, bringing in just $7.1 million.

For a superhero film, such a drop has little precedent. Disappointments like “The Marvels,” “The Flash” and “Shazam Fury of the Gods” all managed better second weekends. Such a mass rejection by audiences and critics is particularly unusual for a follow-up to a massive hit like 2019’s “Joker.” That film, also from Phillips and Phoenix, grossed more than $1 billion worldwide against a $60 million budget.

The sequel was pricier, costing about $200 million to make. That means “Joker: Folie à Deux” is headed for certain box-office disaster. Globally, it’s collected $165.3 million in ticket sales.

“This is an outlier of a weekend if ever there was one,” said Paul Dergarabedian, senior media analyst for Comscore. “If you had asked anyone a month ago or even a week ago: Would ‘Terrifier 3’ be the number one movie amongst all these major-studio films and awards contenders? To have a movie like this come along just shows you that the audience is the ultimate arbiter of what wins at the box office.”

The “Joker” slide allowed “The Wild Robot,” the acclaimed Universal Pictures and DreamWorks animated movie, to take second place in its third weekend with $13.4 million. Strong reviews for Chris Sanders’ adaptation of Peter Brown’s book have led the movie, with Lupita Nyong’o voicing the robot protagonist, to $83.7 million domestically and $148 million worldwide.

The young Donald Trump film “The Apprentice,” distributed by Briarcliff Entertainment in 1,740 theaters, opened in a distant 10th place, managing a paltry $1.6 million in ticket sales. While expectations weren’t much higher, audiences still showed little enthusiasm for an election-year origin story of the Republican nominee.

If headlines translated to ticket sales, Ali Abbasi’s film might have done better. “The Apprentice,” starring Sebastian Stan as Trump under the mentorship of Roy Cohn (Jeremy Strong), has been making news since its debut at the Cannes Film Festival, up to its last-minute release just weeks before the election. The Trump campaign has called the movie “election interference by Hollywood elites.”

Abbasi’s film, set in the 1970s and 1980s, tested moviegoer’s appetite for a political film in an election year. Major studios and specialty labels passed on acquiring it in part because of the question of whether a movie about Trump would turn off both liberal and conservative moviegoers, alike. “The Apprentice” will depend on continued awards conversation for Strong and Stan to make a significant mark in theaters before voters turn out at the polls.

Jason Reitman’s “Saturday Night” failed to ignite its nationwide expansion. The film, with an ensemble cast led by Gabriel LaBelle’s Lorne Michaels, collected $3.4 million from 2,288 locations. The Sony Pictures release, about the backstage drama as the NBC sketch comedy show is about to air for the first time in 1975, will likely need to make more of an impact with audiences to carry it through awards season.

“Piece by Piece,” a Pharrell Williams documentary-biopic hybrid animated in Lego form, had also been hoping to click better with moviegoers. The acclaimed Focus Features release, directed by veteran documentarian Morgan Neville (“20 Feet From Stardom,” “Won’t You Be My Neighbor?”), opened with $3.8 million from 1,865 theaters.

But the debut for “Piece By Piece,” while low for a Lego animated movie, was very high for a documentary. “Piece By Piece,” which had the weekend’s best CinemaScore, an “A” from audiences, could play well for weeks to come. The film, which was modestly budgeted at $16 million, is also likely to end up the year’s highest grossing doc — if “Piece By Piece” can be called that.

“We Live in Time,” the weepy drama starring Florence Pugh and Andrew Garfield, had one of the year’s best per-theater averages in its five-screen opening. The A24 release, which will expand nationwide next weekend, debuted with $255,911 and a $51,000 per-screen average.

Outside of the success of Warner Bros.’ “Beetlejuice Beetlejuice” (which pulled in $7.1 million in its six weekends of release despite recently launching on video-on-demand), Hollywood’s fall has struggled to get going. Low-budget horror, like “Terrifier 3,” continues to be one good bet in theaters, but this autumn has been mostly characterized by bombs like “Joker: Folie à Deux” and “Megalopolis.”

This time last year, Taylor Swift was giving the box office a massive lift with “The Eras Tour.” This weekend compared with the same time last year was down 45% according to Comscore.