Madonna – Crawley's Casting Calls

Beverly D’Angelo, Hair, 1978. Nearly, Madonna and Bruce Springsteen… !!! But Madonna was out-aced by D’Angelo as the perfect Sheila Franklin in Czech-born Milos Forman’s take on the Broadway hippy hit. (George Lucas had been asked to direct, but was rather busy. With American Graffiti).. Next time there was a major musical on offer, Madonna nailed it. Evita, 1996.
Cindy Canuelas, Fame, 1980. Five years before her debut in the soft-core sexploitationer A Certain Sacrifice, the distant kin of Celine Dion, Gwen Stefani and Mark Wahlberg tested – and again in 1982 for the TV series. This was Cindy’s one and only film. Madonna lastedlonger. And in 1996, Fame director Alan Parker finally gave her a part. Evita.
Valerie Landsburg, Fame, TV, 1982-1987. Not many women can say this : “I beat Madonna to the rôle of Doris on Fame!” Of course she did. Look where she came from – the same high school as Nicolas Cage, Richard Dreyfuss, Angelina Jolie, Lenny Kravitz, David Schwimmer, etc, etc. And she was a New York actor-writer-director-singer-songwriter-musician.
Linda Hamilton, The Terminator, 1983.
In all, 55 actresses were considered, seen or tested for Sarah Connor (aged 18; Linda was 27) opposite Arnold Schwarzenegger. James Cameron auteured Sarah for Bridget Fonda. She passed; so did Tatum O’Neal. He decided to go older… and Glenn Close won – her schedule didn’t agree. OK, Kate Capshaw! No, she was tied to Indiana Jones and the Temple of Doom – and Kathleen Turner was Romancing The Stone. Debra Winger won her audition, said yes… then no. The other 48 ladies were The ’80s Group: Rosanna Arquette, Kim Basinger, Christy Brinkley, Colleen Camp, Jamie Lee Curtis, Geena Davis, Judy Davis, Mia Farrow, Carrie Fisher, Jodie Foster, Teri Garr, Jennifer Grey, Melanie Griffith, Darryl Hannah, Barbara Hershey, Anjelica Huston, Amy Irving, Diane Keaton, Margot Kidder, Diane Lane, Jessica Lange, Jennifer Jason Leigh, Kay Lenz, Heather Locklear, Lori Loughlin, Kelly McGillis, Kristy McNichol, Michelle Pfeiffer, Deborah Raffin, Meg Ryan, Susan Sarandon, Ally Sheedy, Cybill Shepherd, Brooke Shields, Sissy Spacek, Sharon Stone, Lea Thompson, Sigourney Weaver… one aerobics queen, Bess Motta (she became Sarah’s room-mate, Ginger Ventura), two singers (Madonna, Liza Minnelli), two Brits (Miranda Richardson, Jane Seymour), five essentially funny girls, Goldie Hawn, Rhea Perlman (Mrs Danny De Vito), Gilda Radner, Mary Tyler Moore…plus the new MTM, Julia Louis-Dreyfus, then from Saturday Night Live. Most were in contention again a few years later for Fatal Attraction (won by Close) and The Accused (going to Foster and McGillis). Ten years later (after T2), Linda gave birth to Cameron’s daughter and Josephine’s parents wed in 1997… for two years.
Lori Singer, Footloose, 1984. Madonna and Tom Cruise, Part One… Director Herbert Ross nearly landed them. Impossible a few years laterat $15m each. And then some.
Demi Moore, St Elmo’s Fire, 1984. One studio chief called the life-after-college pals “the most loathsome humans” he’d ever read. Nobody liked the script, the song, most casting ideas and the title – one Columbia suit spent 35 memo pages on why it should be Sparks or The Real World and not after an obscure meteorological phenomenon! “Everyone wanted that role,” recalled director Joel Schumacher aboiut Julianna Van Patten, aka Jules – Joan Cusack, Jodie Foster, Tatum O’Neal, Lea Thompson. (He felt Madonna would not be keen on an ensemble. After all, the cast was soon called The Brat Pack). Demi got tired for waiting to see auteur John Hughes about Weird Science in his office opposite Joel’s. “I happened to see her running down the hallway. ‘That’s Jules!’ I had my assistant run after her and find out who she was – Demi Moore and she was on General Hospital. So I called her agent, she came in and did a reading. There was no one in the world like Demi Moore at that age. In the movie she gets to be sexy, seductive, hilariously funny and dramatic. She becomes a coke head and tries to kill herself by freezing to death…” Demi knew the territory. So did Joel. He’d “almost self-destructed in his 20s,” said Kurlander. “I recall him vowing that Demi could go kill herself on someone else’s movie. He gave her an ultimatum: go to rehab and get clean before the movie started, or they would recast her part… [with Madonna or Jenny Wright, who played Rob Lowe’s long-suffering wife]. To Demi’s great credit, she rose to the occasion and got sober.” Joel loved her. “She had to go through 35 different things in the movie. At that age? Pretty fucking amazing, right?”
Kim Greist, Brazil, 1985. Considered by director Terry Gilliam, before Susan Seidelman had her Desperately Seeking Susan. “You gotta start somewhere.” But women are Terry Gilliam’s weakest casting points… Ellen Barkin was his favourite for Jill, yet hefell for an unknown riddled with so many problems. “Kim just wasn’t getting it.” She gave him so much trouble, during one love-scene with Jonathan Pryce that Gilliam strode off the set. “Kim, do the scene yourself and let me know when you’ve got it done. I’m off.” He kept having to shorten her role and even resorted to having wear a bandage to add “more personality.” Not necessary if he’d chosen from his eight other interviewees: Madonna, Rosanna Arquette, Rae Dawn Chong, Jamie Lee Curtis, Rebecca De Mornay, Kelly McGillis, Michelle Pfeiffer, Kathleen Turner.
Colleen Camp, Clue, 1985. Anyone for Cluedo? Because that’s what we’re watching here… “We’re trying to find out who killed him, and where, and with what!” UK auteur Jonathan Lynn told BuzzFeed he ruminated over Madonna, Jennifer Jason Leigh and Demi Moore for ze typical French maid cliché. Until Camp turned up – and on, in her own French maid outfit. He loved her comedy skills. even more so, her figure. “There was no avoiding it.” Chicago critic Roger Ebert called her “bouncy.”
Chloe Webb, Sid & Nancy, 1986. Madonna and Rupert Everett was an absurd plan for Love Kills before Alex Cox made it correctly… and then disappeared.
Bette Midler, Ruthless People, 1986. Writer Dale Launer’s version of O. Henry’s The Ransom of Red Chief, hung around at Columbia and then at Disney’s new adult unit, Touchstone, for years. Or indeed from Launer’s choice of Joan Rivers as the kidnapped wife, Betty Stone, to Jeffrey Katzenberg’s plan for Madonna and finally, Midler, after proving her box-office chops with Touchstone’s Down and Out in Beverly Hills. Said David Abrahams, one-third of the ZAZ team: “The only actress who could’ve played Barbara was Bette. A natural.”
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Ellen Greene, Little Shop of Horrors, 1986. The suits had the temerity to talk to Madonna and Cyndi Lauper when the original 1982 off-off-Broadway (and London) Audrey was alive and well and just too brilliant to ignore. So director Frank Oz signed her up.
Kim Basinger, Blind Date, 1987.Sure, if you drop Joan Micklin Silver for Richard Benjamin. He was busy and the Material Girl did not approve five other directors.Proving the measure of their movie lore, Mr and Mrs Sean Penn made the abysmal Shanghai Surprise, instead.She agreed with Warren Beatty (who made Ishtar!) that she made a lot of stupid choices – “out of impatience.”
Rebecca De Mornay, God Created Woman, 1987.Warners was interested in Roger Vadim re-making Vadim – ifhe could deliver Madonna.He couldn’t.At the time, M saw herself as the new MM, not BB.
Ellen Barkin, Siesta, 1987. “Too much nudity and sexual content”.Pardon me? Madonna actually said: too much sex and nudity.Madonna? Really? Really! Two years after her soft-core debut, A Certain Sacrifice, and six years before her sex-book, Sex, and sex-film,Body of Evidence…
Glenn Close, Fatal Attraction, 1987.
Kelly McGillis, The Accused, 1988. Paramount suits saw 40 young actresses for the (real life) gang rape victim.Or,their own rape bait fantasies… such as 16-year-old Alyssa Milano!And a further 28 for her defence attorney. Including the Fatal Attraction also-rans (from Madonna to Debra Winger, by way of Diane Keaton and, naturally, Meryl Streep). Plus Blythe Danner, Sally Field, Terri Garr,Mary Gross, Dianne Wiest. A 1982 rape victim herself, McGillis refused Jodie Foster’s Oscar-winning role but asked to play her lawyer.
Melanie Griffith, Working Girl, 1988.
“If you ever want to make money, do Cinderella,” said Mike Nichols. Even better if he’s directing – despite a coke-head star. (He made Her Highness Melanie Griffith pay $80,000 from her salary for having to close down shooting one night due to her wasted condition). Fox never wanted Mher, anyway, but Njchols was Nichols; he ruled. “She incarnated Tess and there was no great version of the movie without her,” declared producer Douglas Wick The earliest notion was Madonna. Mike rang producer Douglas Wick: ”Turn on your TV. Madonna’s on The Tonight Show. See what you think of her…” They also saw Lorraine Bracco (devastated after, she thought nailing her test), Goldie Hawn (bit old at 43), Diane Lane, Shelley Long, Demi Moore, Sarah Jessica Parker. Plus Michelle Pfeiffer and Meryl Streep for Tess or her wicked witch boss, Katharine; won by Sigourney Weaver. (Some 26 years later, Griffith’s daughter, Dakota Johnson, headed the darker and, supposedly, more erotic version of the office power-play tale in Fifty Shades of Grey).
Nicole Kidman, Days of Thunder, 1989. Dr Claire Lewicki was aimed at all the usual misses. Madonna, Kim Basinger, Sandra Bullock, Jodie Foster, Heather Locklear, Sarah Jessica Parker, Michelle Pfeiffer, Molly Ringwald, Julia Roberts, Meg Ryan, Ally Sheedy, Brooke Shields, Sharon Stone, Robin Wright. And a newcomer to such rosters: the Irish Alison Doody. They all passed what was a formulaic Tom Cruise movie – ie, all about Cruise as a cocky young talent, with an older mentor, older (even taller) woman, and surpassing his enemies… literally, in this chapter, as a Daytona NASCAR driver. He chose Kidman, after seeing Dead Calm, and promptly married her. And she learned about superstar formulas. When she asked fcr time to study neurosurgery for her surgeon’s role, she was told, basically, not to be so silly.
Lorraine Bracco, Goodfellas, 1989. Madonna and Tom Cruise, Part Two… Took 20 years for producer Irwin Winkler to reveal thatWarner Bros was desperate to have Madonna playing the wife of a Henry Hill acted by Tom Cruise. Director Martin Scorsees approved the Material Girl but not Cruise – Marty preferred, and got, Ray Liotta.
Michelle Pfeiffer, The Fabulous Baker Boys, 1989. After Debra Winger fled, Madonna, Jodie Foster, Jennifer Jason Leigh, Brooke Shields – were up for Susie the chanteuse. None of them – especially Madonna, who found the script ”too mushy” – could equal the heat of Pfeiffer’s sensuous Making Whoopee rendition atop a piano. Only took six hours to shoot!
Julia Roberts, Pretty Woman, 1989.
Elizabeth Pena, Jacob’s Ladder, 1990 .”When she walks into a room, she’s larger than life. She takes over the room” – the film’s UK director Adrian Lyne on Madge.
Pamela Gidley, Liebestraum, 1990. UK director Mike Figgis spent six years setting up his “unwitting incest” drama, switching the locale from North England to Hollywood to entice M. Ultimately, he shot it in a small US town for $8.5m- Madonna’s salary!
Andie McDowall, Hudson Hawk, 1990. “Iraqui troops have invaded Kuwait,” wrote Richard E Grant in his diary for August 8, 1989. “My lawn-mower has conked out. Marushka Dettmers [sic] is being ‘replaced’… Desperately Seeking Madonna was to ask [sic] if she would take over. Impossible as she is mid-tour.” Isabella Rossellini was top choice for the Bruce Willis production (and script). Instead, he signed Maruschka Detmers, Jean-Luc Godard’s Dutch discovery for Prenom Carmen, 1983. She had lately become a scandal due to her real fellatio in Italian Marco Bellochio’s Diavolo in corpo (US: Devil in the Flesh). Apparently, Mrs Bruce, Demi Moore, stamped her foot about such casting. Detmers was ditched. (Officially, a bad back). Isabelle Adjani (replaced by by Detmers in her Godard break) avoided any more crap comedy-thrillers after her 1985 Warren Beatty-Dustin Hoffman-Ishtar disaster. Madonna also passed and so it was Andie.
Ingrid Chavez, Graffiti Bridge, 1990. Petit rocker Prince was trying(too) hard to channel Orson Welles as an auteur and asked Madge to be his Aura. She told him straight out: “The screenplay’s awful! ” Like she would know…
Geena Davis, Thelma & Louise, 1990.
Lorraine Braco, Goodfellas, 1990. Top Warner suit Terry Semel ordered that Madonna – and Tom Cruise – must be in the Mafia memoir. Both starsa and director Martin Scorsese took no notice. Result: Another Scorsese-Robert De Niro classic, with Braco and Ray Liotta as the co-narrators, Mr and Mrs Henry Hill. “After awhile, it got to be all normal. None of it seemed like crime. It was more like Henry was enterprising.” Madonna also lost De Niro-Scorses’s Casino,1995.
Cathy Moriarty, Soapdish, 1991. Impossible for M to have matched Moriarty’s Mary Woronovesque work as the soapster trying to take over the show.
Sherilyn Fenn, Ruby, 1991. After Dick Tracy‘s Breathless Mahoney, everyone saw her for the composite of Jack Ruby’s Dallas strippers. “Madonna comes with money and everything else,” agreed UK director John Mackenzie, “but you’re taking a big chance on throwing away the character.I’d never have got what I wanted out of the subtext. After seeing Sherilyn, I wouldn’t have considered anybody else.”
Sofia Coppola, The Godfather: Part III, 1991.
Bridget Fonda, The Godfather: Part III, 1991.
Michelle Pfeiffer, Batman Returns, 1991.
Sharon Stone, Basic Instinct, 1991.
Witney Houston, The Bodyguard, 1992. When Kevin Costner first got his hands on the old Steve McQueen project,he thought ita “neat” idea for the pop diva.
Sherilyn Fenn, Three of Hearts, 1992. Once upon a time, Madge completed the three-wayof Robert Downey Jr and Demi Moore- or Elizabeth McGovern.
Annabella Sciorra, Romeo Îs Bleeding, 1992. Robert De Niro’s company offered her a hit person.
Uma Thurman, Even Cowgirls Get The Blues, 1992.She was so right.A majorflop from Gus Van Sant.
Kim Basinger, Boxing Helena, 1992.
Geena Davis, Angie, 1993. M wouldn’t promiseto delay the release of the company’s debut,New York director Abel Ferrara’s sexually aggressive Dangerous Game,until after the softer Angie opened.That wasexcuse enough for producer Joe Roth to go with Geena. Madonna wrote him: “How foolish of me to think I had the ability to play a vulnerable character, I should just stay in the gutter where I belong, working with lowlifes like Abel Ferrara and being hated by the general public.” Then, one of heremails was leaked – furious with the head Fox, Joe Roth, for dumping her for a non-Italian inthe titular role.In truth, she fled after hearing Roth didn’t want her becauseshe couldn’t carry a movie. (Not that this one did any better without her). Her director, Jonathan Kaplan, also quit and Martha Coolidge took over with her 1991 Rambling Rose star – after some thoughts about a dozen others, from Halle Berry to Meryl Streep. Oh, very Italian!
Marisa Tomei, Untamed Heart, 1993. “Madonna actively campaigned for it, then said Billy [Baldwin] wasn’t right,” said stuntman Tom Sierchio.Her exit helped the budget slip from $15m to $12m and with Milos Forman’s Hell Camp suddenlycancelled, Marisa, My Cousin Vinny‘s Oscared girl, was free to be the waitress
Bridget Fonda, Point Of No Return,1993. What Hollywood never understood when attempting to seduce French auteur Luc Besson into re-making his own movie was that Nikita had been created and crafted for his then wife, Anne Parillaud. And no one else.It was, therefore, impossible for him to envisage a different woman in the role.Not Madonna. Nor Sharon Stone.Nor Marge Simpson.
Tia Carrere, Wayne’s World 2, 1993. Mike Myers got jealous when Kim Basinger offered to be the girl of Dana Carvey’s Garthin the bigger-budget sequel, and he tried to land M or Demi Moroe as hisgirl.
Gina Gershon, Showgirls, 1995. “Oh yes, she really wanted to play her,” said Gershon. “But I ended up doing it.” Writer Joe Eszterhas interviewed 50-plus strippers and, aided by Hawaiian weed, came up with All About Eve in Vegas. Unable to land his dream mix of Madonna and Drew Barrymore as the 90s’ Bette Davis and Anne Baxter, the Dutch director decided to create his own star in Elizabeth Berkley. And failed – ruining poor Elizabeth Berkley’s career. (No A-List film since 2001). Also in the mix for top strip star Cristal Connors were Daryl Hannah, Finola Hughes, Sharon Stone, Sean Young and in “my worst ever audition,” Jennifer Lopez. Gershon refused to reprise Sharon Stone’s leg-crossing from the previous Verhoven-Eszterhas titillation, Basic Instinct- for which Hannah had been seen.
Sharon Stone, Casino, 1995. The role? Robert De Niro’s ex-show-cum-call-girl wife in Martin Scorsese takedown of the Mafia running the biz called Las Vegas. Michelle Pfeiffer felt it was too close to her 1982 Scarface. (It was also close to Goodfellasbut that didn’t hinder the De Niro-Joe Pesci-Scorsese trinity). Ex-porn queen Traci Lords nearly won after an impressive test. Likewise, Madonna. Amber Smith also tested and De Niro got her into Faithful and Abel Ferrar’s The Funeral. Also seen: Cameron Diaz, Melanie Griffith, Nicole Kidman, Rene Russo and Uma Thurman. “I want to begood enough to work with Robert De Niro,” Sharon Stone had told her drama coach. This time she was. Never again.
Emily Watson, Breaking The Waves, Denmark, 1996.What a terrible notion!Yet Danish wunderkind Lars von Trier claims he wrote it for her – as if she was actress enough to play a virgin.He sent her the script and never heard a word.But then, she wasn’t Ingrid Bergman and he certainly wasn’t Roberto Rossellini… Yet with the agonizing dross that followed, this was Von Trier’s finest film.
Rosie Perez, Perdita Durango, Mexico-USA-Spain, 1996. Handed the Bigas Luna project to Victoria Abril. Then, a new director arrived.
Janet Gunn, The Quest, 1996. She knew it was a bad’un – Roger Moore was in it!By now, Madge was recognising lousy scripts… and in this instance, lousy directors, ie The Muscle From Brussels, himself,Jean-Claude Van Damme.The zero role went from the Material Girl to… an ex-stewardess, Dallas Cowboys cheerleader and SusanHoward’s stunt double inDallas.
Kate Winslet, Titanic, 1996.
Meg Ryan, Addicted to Love, 1996. Madonna was ready for the rom-com – with Johnny Depp – in 1993. Warner Bros was not.. By the time it was, the birds had flown. Rynan’s co-star was Matthew Broderick. The project had bveen among the many suggested to the studio by Sondra Locke as a directing gig in her special $1.5m Warner contract that was never worth the paper it was written on (as her then about to be ex-lover Clint Eastwood reimbursed ther studio!). Yet Warner allowed another actior, Griffin Dunne, to make his helming debut. Locke’s version would never have been so weak.
Meryl Streep, Music of the Heart, 1999.
Wes Craven finally escapes horror – but collides with the bizarre Madonna ego. The film was a drama version of the 1995 documentary, Small Wonders, about a schoolteacher Roberta Guaspari making violinists out of Harlem kids. Craven thought Madonna would be perfect, “a poor Italian woman starting off from an immigrant family, who brought herself up by her own bootstraps and, like Roberta, built a life around music,” as he told journalist Stephen Applebaum. “If she could just put that whole side of her that is fascinated by sexuality away – then there might be some extraordinarily vulnerable, sensitive woman inside that (if she was willing to reveal it) could make it a breathrough in her career.” But no, she was more keen on Roberta’s sex-life… same old, same old. She was demanding more re-writes right up to the shooting date. Craven dropped her. “I wasn’t going to come all this way to make a non-genre film just to make somebody else’s movie,” he told The New York Times. (This was his price for making Scream 3). He called up Streep and found her tired out by two back-to-back films and wanting time with her children. He wrote her a very personal letter. “His words seduced me. I had to do the movie.” She simply begged a month to learn to play violin. Result: Perfection. (What else?). And Madonna never made her movie.
Melanie Griffith, RKO 281, TV, 1999. Due to reincarnate Marion Davies in Ridley Scott’s all star spectacular about the making of Citizen Kane… before budget cuts made it a fine HBO special.
Annabella Sciorra, Once in the Life, 2000.For his second film as a director, Laurence Fisburnefilmed his own play – and wanted Madonna as Maxine, the wife of Eammon Walker’s Tony The Tiger. Fishburne saved the best role for himself: 20/20 Mike, an ex-con who misses nothing because, he says, he has eyes in the back of his head.
Tina Sloan, The Guru, 2001.During the early stages of the Bollywood-meets-Hollywood rom-com, scripter Tracey Jackson wanted Kitty to be Madonna or Martha Stewart – as themselves. They refused. Well, it was then titled The Guru of Sex.
Charlize Theron, Kingdom Come, 2000. UK director Michael Winterbottom’s Western with Peter Mullan selling wife and daughter for a gold claim.
Debbie Harry, Spun, 2001. Madonna and porn star Ginger Lynn were up for a butch lesbian phone sex operator involved in a three-day trip by speed freaks. (Helluva switch from second choice being Martha Stewart!) They were, said web critic Dennis Schwartz, full of anxiety, rage, sexual frustration, the jitters and sawdust for brains. The Swedish director Jonas Åkerlund came from music-videos, more than a hundred of them, Including eight with Madonna.
Catherine Zeta Jones , Chicago, 2002.
Salma Hayek, Frida, 2002. She planned to star in and produce a biopic – even talked of Brando or De Niro as the artist’s lover, Diego Rivera. Mexicans, however, were not keen on any non-Mexican in the role – the reason Jennifer Lopez, Laura San Giacomo split, allowing Salma to get on with her labour of love.
Tina Slogan, The Guru, 2002. Hollywood Meets Bollywood and Heather Graham steals all when they met her in another visit to pornoville. Director Daisy von Scherler wanted Madonna or Martha Stewart to play themselves. They didn’t. The part was re-named Kitty and enter Sloan, as well known as a New York marathon runner as she was for the soaps, Another World in 1981 and as Lillian Raines in Guiding Light, 1983-2009.
Joan Cusack, Chicken Little, 2004. To find the right voice for Abby Mallard in Disney’s paltry poultry pic, Disney went through Jamie Lee Curtis, Madonna, Geeena Davis, Laura Dern, Jamie Donnelly, Jodie Foster, Holly Hunter, and, of course, Sigourney Weaver. (By now many Alien fans were working at every studio). Plus Sarah Jessica Parker, when her husband, Matthew Broderick, was in the frame for the titular hero.
Jada Pinkett Smith, Madagascar, 2005. That’s a no to voicing Gloria the Hippo – like Jennifer Lopez and Gwen Stefani. But yes to voicing Princess Selenia in Luc Besson’s Arthur et les Minimoys/Arthur and the Invisibles, France, 2006. She owed him. The tubby French tycoon had bankrolled Revolver, 2005 – her director-husband Guy RitcThie’s last disaster. (And I choose my words specifically). Smith’s husband, Will, had starred as Oscar in DreamWorks’s previous toon, Shark Tale, 2003.
Michelle Pfeiiffer, Hairspray, 2007. Madonna won their Evita battle in 1996. Now it was Michelle’s turn. “She never made it as an actress,” said Madonna’s super-agent Michael Ovitz. “No one can do everything perfectly.” Including Michael Ovitz.
Adrianne Palicki. Wonder Woman, TV, 2011. The DC comicbook heroine had not been seen on screens since Lynda Carter ended her four year reign on ABC in 1979. Timet hen, said Warner, for a new movie. DC’s testosterone duo, Batman and Superman, had cleaned up, now it up to the beautiful superhuman Amazon warrior Princess Diana of Themysacira, her Lasso of Truth, her indestructible bracelets and (honest) her invisible plane. With who…? Across a decade of plans by producers as diverse as Joel Silver (so wrong) and Joss Whedon (so right), 24 beauties were in the frame: from Madonna in 2000 to Whedon’s favourite, Cobie Smulders. Then, the film morphed into an updated TV series by David E Kelley – that, too, was dead after the rushed pilot. Palicki was the sole actress considered for TV – she was previously seen by George Miller for WW in his aborted Justice League, in 2008.

Birth year: Death year: Other name: Madonna Louise Veronica CicconeUsual occupation: SingerCasting Calls: 62