Production
Halle Berry, Whitney Houston, Robin Givens, Pam Grier, Vanessa L. Williams and Janet Jackson were all considered for the role of Tina Turner. It was Whitney Houston who was actually offered/received the role, but had to decline due to imminent maternity. Jenifer Lewis, who plays Tina's mother in this film, originally auditioned to play Tina Turner. Lewis is only one year older than Bassett.
Laurence Fishburne was offered the role of Ike Turner five times and turned it down each time. When he found out that Angela Bassett was cast as Tina Turner, he changed his mind.
All the Ike and Tina Turner songs used in the film were newly re-recorded versions featuring Tina Turner covering her own songs. On "Proud Mary", Laurence Fishburne sings Ike Turner's parts. For Tina Turner's solo recordings the original masters were used, including the Phil Spector-produced "River Deep - Mountain High".
In his autobiography Taking Back My Name, Ike Turner claims the movie damaged his reputation immensely and attacks many of the scenes for being either not strictly accurate or completely fabricated.
Bassett was injured while filming the first spousal abuse sequence. She fell off the back of a high-rise sofa, put her hands out to reduce the impact and suffered a hairline fracture of her right hand. She only tried the stunt fall once, and footage leading up to the mishap appears in the film.
Actress Vanessa Bell Calloway, who plays the fictional character of Jackie, was wary of chanting the Buddhist words because of her strong Christian faith. Director Brian Gibson allowed her to form the words with her lips silently during filming and added the words with a voice double in post-production. She also appeared alongside Tina in the music video of "What's Love Got to Do with It".
Read more about this topic: What's Love Got To Do With It (film)
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The myth of unlimited production brings war in its train as inevitably as clouds announce a storm.”
—Albert Camus (1913–1960)
“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)