Although never published from a "rumored news" source nor the press, Streep has been in talks since before Burton came on to once again direct.
Here's the latest on the film, soon to be published on the new MovieMusicals.net:
SWEENEY TODD [DEVELOPMENT]
In 1997, a book entitled Sondheim on Music: Minor Details and Major Decisions by Mark Eden Horowitz was published. In it, Sondheim is quoted in saying that Tim Burton was very interested in turning SWEENEY TODD into a movie musical.
In June 2003, however, Variety reported that Steven Spielberg intended in mounting the film version for DreamWorks.
Just a month later, Variety then reported that Sam Mendes would direct a film adaptation with Walter Parkes and Laurie MacDonald producing, also for DreamWorks. They also confirmed that the Burton-led project fell through.
In February 2004, Scamp Films again announced it planned on bringing Stephen Sondheim’s SWEENEY TODD to the big screen. John Logan (‘The Aviator;’ ‘Gladiator’) was named to pen the screenplay. Sam Mendes, who co-founded Scamp, was still rumored to direct the project.
In March 2005, the Daily Mail newspaper reported that Russell Crowe was “mulling over” whether or not to accept the title role also known as “the demon barber of Fleet Street.” As for Mrs. Lovett: Emma Thompson, Imelda Staunton and Toni Collette were “in the mix” of possibilities.
In January 2006, MovieMusicals.net reported that Tim Burton was once again set to direct the film after Mendes dropped out of the running, opting to direct JARHEAD instead. Johnny Depp was announced to star. Later in June, Variety confirmed and also announced that the project would move forward faster than expected, since Burton’s RIPLEY’S BELIEVE IT OR NOT was sent back into development.
In September 2006, DreamWorks announced principal photography would begin on February 5, 2007 in London. Casting is expected to take place in the coming weeks.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
