By Anthony McCartney, Entertainment Writer
LOS ANGELES (AP) --Farrah Fawcett’s estate sued a producer Friday who collaborated with the actress, claiming he botched a documentary project and misused her company’s money.
The lawsuit claims Craig J. Nevius exploited Fawcett and improperly revealed privileged information about the actress to the media, including that her cancer had returned. The suit also claims Nevius turned in an unworkable first cut of a documentary on Fawcett’s fight with cancer and he may have embezzled money from the actress’ company, Sweetened By Risk.
The lawsuit states NBC, which aired the television special “Farrah’s Story,” had to rework the footage with help from Fawcett’s longtime companion, Ryan O’Neal. The edits were being made until shortly before the special aired, the lawsuit states.
“These allegations lack merit and are a pathetic attempt to try to intimidate and further injure Mr. Nevius,” said attorney Miles J. Feldman.
Nevius sued O’Neal and Fawcett’s friend Alana Stewart over “Farrah’s Story” last year. The case is still pending.
That case, filed the day the special was aired for Fawcett’s friends and reporters, claims O’Neal, Stewart and Fawcett’s business manager Richard B. Francis, interfered with Nevius’ role in “Farrah’s Story.”
Friday’s lawsuit was filed by Francis, who is a trustee of Fawcett’s estate, and Sweetened By Risk LLC.
The lawsuit states Nevius knew Fawcett for about five years before he June 25 death. He worked on a reality TV series featuring the actress called “Chasing Farrah” and was producing the documentary that eventually aired on NBC. The lawsuit claims Fawcett cut ties to him in early 2009 and he became jealous of O’Neal and Stewart.
The lawsuit filed Friday contends Nevius turned in a first cut of “Farrah’s Story” that was deemed “wholly unacceptable” by the actress. She then turned creative control of the film over to O’Neal, the suit states.
The complaint states Francis believes Nevius “embezzled hundreds of thousands of dollars” from Fawcett’s company. It states Nevius has refused to allow Sweetened by Risk’s financial records.
Fawcett’s “Charlie’s Angels” co-star, Kate Jackson, said Friday evening she was shocked at the lawsuit’s allegations against Nevius. Jackson had been critical of the producer in the past, but said Friday those comments were misguided.
She said it was her understanding that Fawcett had creative control of the early version of the documentary on her cancer fight.
“He had an unflagging devotion to Farrah in every way and he worked with her to help her achieve her vision, not his vision and not anybody else’s vision,” Jackson said in a telephone interview.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More