DEADLINE – Ryan Knighton is adapting Michelle Adelman’s novel Piece of Mind for Paramount and Bad Robot, a project which we’re hearing has Daisy Ridley circling.

The W.W. Norton novel follows Lucy, a 27-year old, who sustained a traumatic brain injury when she was three. When Lucy’s main caregiver, her father, dies suddenly, she’s forced to move in with her college-age younger brother in his cramped studio apartment in New York City. While Lucy knows everything about coffee, comic books and Gus, the polar bear at the Central Park Zoo, she possesses a rare gift for drawing. However, she has trouble relating to people and cannot hold down a job. During her summer with her brother, Lucy learns to discover that she has more strengths than she herself knows.

Knighton is a Sundance Lab screenwriting fellow and the recipient of the 2009 Alfred Sloan Prize from the Tribeca Film Institute. He recently adapted Inside the O’Briens for No Trace Camping, with Brett Haley attached to direct. Knighton is also a New York Times contributing columnist, writing the Modern Love piece “Seeing the World Through My Wife’s Eyes.” Knighton’s comedy TV pilot Nothing to See Here is in development at Super Deluxe. His original project Grand Theft Cattle is setup with The Jackal Group.

Ridley recently starred in Star Wars: The Last Jedi, Peter Rabbit, as well as the feature re-telling of Hamlet, Ophelia, which premiered at the Sundance Film Festival.

THE HOLLYWOOD REPORTER – Chaos Walking, Doug Liman’s big-budget adaptation of the best-selling YA novel of the same name by Patrick Ness, is the latest big-budget movie to undergo significant reshoots, The Hollywood Reporter has learned.

And, because of complicated scheduling issues with stars Tom Holland and Daisy Ridley, the reshoots could very likely force Lionsgate to push back the movie’s release date, which is currently slated for March 1, 2019.

Lionsgate is spending between $90 million and $100 million on the pic, an ambitious sci-fi thriller that the studio hopes will launch a franchise that can stand out amid superhero movies, remakes and sequel tentpoles.

The “additional photography” is expected to last two or three weeks but will not take place until the end of this year or early next, sources tell THR. That marks an unusual delay, given the film finished shooting principal photography last November, but insiders point out that the delay is because the movie’s two stars are so in demand.

Holland is due to shoot the sequel to Spider-Man: Homecoming, while Ridley will be at work on Star Wars: Episode IX, both of which take up the summer months. Regardless, it would be a tight turnaround to make the current release date and insiders are planning, at this stage, on the opening date to shift. Lionsgate had no comment.

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ENTERTAINMENT WEEKLY – William Shakespeare sure loved a doomed heroine. Some of the Bard’s most famous women — Juliet, Desdemona, Lady Macbeth — all met with a grisly fate, but few are as iconic as Hamlet’s Ophelia, who goes mad with heartbreak and drowns herself in a river. While Hamlet’s insanity and demise have been explored countless times since the play’s publication in 1603, much of Ophelia’s story happens off stage. Claire McCarthy’s new film Ophelia, led by Star Wars’ Daisy Ridley, aims to change that — and reimagine the character as a bold, complicated young heroine.

It’s a radical reinvention for a woman who’s most frequently portrayed in art and literature as a docile, waif-like beauty, driven mad by love and passively accepting her watery death.

“That’s often how women have been portrayed in storytelling — as the damsel in the distress,” says Naomi Watts, who plays Hamlet’s mother, Queen Gertrude. “If their mind is powerful, it must be madness. And now there’s this shift that’s taking place, and that’s reflected in this storytelling.”

Based on Lisa Klein’s novel and premiering this month at the Sundance Film Festival, Ophelia follows its lowborn protagonist as she becomes the most trusted lady-in-waiting for Gertrude and strikes up a relationship with her son, Hamlet (George MacKay). Along the way, Ophelia gets caught up in the court’s deadliest betrayals and secrets, all while trying to find her own path. “We wanted her to feel a lot more empowered and a lot more visceral than the original Ophelia, who is really only in a handful of scenes,” McCarthy (The Waiting City) says. In other words, this Ophelia is more concerned with her own destiny than Hamlet’s emo mopiness. Ophelia’s new direction also gives the 400-year-old play new relevance in 2018. “There’s real currency in the fact that Ophelia was the victim, and now she’s been recast as the hero,” Watts says.

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‘Ophelia’ will have its world premiere during the Sundance Film Festival. The festival will take place around Park City, Utah, on January 18-28.

Ophelia / United Kingdom (Director: Claire McCarthy, Screenwriter: Semi Chellas, Producers: Daniel Bobker, Sarah Curtis, Ehren Kruger, Paul Hanson) — A mythic spin on Hamlet through a lens of female empowerment: Ophelia comes of age as lady-in-waiting for Queen Gertrude, and her singular spirit captures Hamlet’s affections. As lust and betrayal threaten the kingdom, Ophelia finds herself trapped between true love and controlling her own destiny. Cast: Daisy Ridley, Naomi Watts, Clive Owen, George MacKay, Tom Felton, Devon Terrell. World Premiere