J.J. Abrams and Ron Howard are joining forces on All I’ve Got, a fantasy-romance project that’s developing from Abrams’ Bad Robot and Paramount Pictures that the latter, Oscar-winning, director has attached himself to helm.
Howard’s keeping busy, overseeing post-production on the Formula 1 racing drama Rush (starring Chris Hemsworth) and coming back as executive producer – not to mention, returning as the narrator – on the belated fourth season of Arrested Development. The filmmaker’s been associated with numerous projects over the past year, so it remains to be seen which one he actually moves ahead with next.
All I’ve Got is a loose remake of writer-director Margalit Keren’s Israeli TV movie Kol Ma She’Yesh Li. Keren’s project revolves around a young woman who survives a bizarre car accident that takes the life of her boyfriend, only to go on and marry another man, have several children and die a peaceful death at age 75. However, upon entering the afterlife, she is offered a choice: return to the world of the living with no memory of her previous life – and be young again with her lost love – or wait until her long-devoted husband passes on and joins her.
Vulture is confirming that a Hollywood-ized All I’ve Got is developing over at Bad Robot (with Howard onboard), but has no information about who might be writing the new screenplay. The Playlist is speculating that Sarah Polley (Away from Her, Take This Waltz) might be handling that task, as she was previously rumored to be scripting an unspecified remake for the production company. For the time being, though, that remains rumor and nothing more.
There are some intriguing religious and social overtones inherent to the original All I’ve Got premise, so it’ll be interesting to see how those are changed (or are not) in order to befit an American setting, rather than an Israeli background. Keren’s TV series In Therapy was previously shipped overseas and became HBO TV’s critical darling In Treatment, so that’s an encouraging omen.
Abrams has found success producing entertainment with a strong female presence for the small screen – Felicity, Alias and Fringe – but related big-screen ventures bearing his stamp of approval haven’t replicated that popularity yet (see: Morning Glory). Similarly, Howard’s coming off two lackluster critical releases in a row – the lucrative Angels & Demons and largely-ignored The Dilemma – but maybe he will (re)gain some footing by taking on a film like this.
We’ll keep you posted on All I’ve Got.