A Star Is Born (2018 film)

Pre-production

Previous remakes of the original 1937 film included the 1954 adaptation starring Judy Garland, and the 1976 rock musical with Barbra Streisand and Kris Kristofferson as the leads. Furthermore, the Bollywood romance film Aashiqui 2 (2013) was inspired by A Star Is Born but was not a remake.^[9] Development of a new adaptation dated as far back as the late 1990s with Will Smith the intended lead player.^[10] However, Smith's participation was nixed by his decision to star in Ali.^[10] In 2000, Jamie Foxx and Oliver Stone were rumored to be seriously interested in remaking the film,^[10] with Foxx first seeking out R&B singer Aaliyah and then rising actor Paul Walker for the leading duo roles.^[11][12] Lauryn Hill and Mariah Carey were also sought for the lead roles,^[10] and Alicia Keys turned down an offer to play the female lead in the film.^[13] Plans for the adaptation were shelved for several years.^[14]

In January 2011, it was announced that Clint Eastwood was in talks to direct Beyoncé in a third American remake of the film A Star Is Born (1937), with Bradley Cooper playing the male lead. However, the project was delayed on account of Beyoncé's pregnancy.^[15] In April 2012, writer Will Fetters told Collider that the script was inspired by Kurt Cobain.^[16] Over the course of the film's development, talks with Christian Bale, Leonardo DiCaprio, Tom Cruise, Johnny Depp and Smith to play the male lead failed to come to fruition. Eastwood was interested in Esperanza Spalding to play the female lead.^[17] Jennifer Lopez, Rihanna, Shakira, Janelle Monáe, Selena Gomez, Demi Lovato and Kesha were also considered for the lead female role. On March 24, 2015, Warner Bros. Pictures announced that Cooper was in final talks to make his directorial debut with the film. Beyoncé was again in talks to join, though still unsigned.^[18] In order to secure his first directorial commitment and in lieu of receiving an upfront salary, Cooper took a back-end deal in order to get the film made, resulting in a $39.9 million salary.^[19]

Cooper acknowledged that he was initially discouraged from directing the film, as the project had undergone a prolonged development process involving multiple filmmakers and stars. Despite warnings from those close to him and recognizing the risks of helming another remake, he remained committed, saying the project "ignited something" in him and reflected a long-standing personal connection to music and songwriting.^[20] Cooper had wanted to direct since childhood but had been "terrified" of doing so, and that turning 40 gave him the sense that it was time to make his directorial debut.^[21] After Eastwood's involvement faded, he dreamed the film's opening sequence and used that vision when pitching his version to Warner Bros.^[22]

A major issue in the development process was Warner Bros.' reluctance to deal with Jon Peters, who held the rights to the material dating back to his producing the 1976 film. While the studio ultimately reached an agreement with him in order to proceed with the project, his involvement was retained due to contractual obligations. He did not receive the Producers Guild of America "p.g.a." designation, which signifies that a producer performed the majority of the producing duties and is typically used by the Academy of Motion Picture Arts and Sciences when determining eligible nominees for the Academy Award for Best Picture. Peters had previously faced multiple sexual harassment allegations, which he denied. Bradley Cooper stated that he had not been aware of the allegations at the time, explaining that Peters's consent was required to make the film, and noted that Peters was not involved during production, remarking, "Luckily, Jon wasn't there."^[23][24]

Casting

Cooper became the male lead while in final talks to make his directorial debut at the end of March 2016.^[25][26][27] Cooper revealed that originally he planned on only directing the film and did not want to star in it because he wanted to focus on directing. His first choice for the male lead was musician Jack White, but the studio rejected the idea. It was then that Cooper agreed to star in the movie as well.^[28]

On August 16, 2016, it was reported that Lady Gaga had officially become attached and the studio had green-lit the project to begin production early 2017.^[29] Beyoncé was the first choice for the role and worked with Cooper on it for a year before leaving the project. Adele was briefly considered to replace her before Cooper met Gaga.^[30] Cooper decided to cast Gaga after seeing her perform "La Vie en rose" at a charity event, recalling that she "demolished the room" and convinced him of her suitability for the role. He subsequently met her at her Malibu home, where the two developed an immediate rapport and began working together, including singing and testing material informally, which helped shape their on-screen dynamic.^[31] Gaga later said she was drawn to the project because of Cooper's involvement as both lead actor and director. She formally tested for the role at her home, where she and Cooper shot ten pages in one day and first sang together at the piano, an encounter both later described as central to establishing their creative rapport.^[32] Gaga's presence during their first meeting convinced Cooper that the film would work if she could bring the same immediacy to the screen.^[33] Warner Bros. requested the test as proof of concept before green-lighting the film, and Cooper screened the result theatrically for the studio.^[34] Before filming, Gaga worked with acting coaches Elizabeth Kemp and Susan Batson, and said she dyed her hair and removed her makeup months in advance to distance herself from her public image and better inhabit Ally's character. She also recalled that Cooper encouraged a more spontaneous acting style during filming, prompting her to move beyond memorized lines and focus instead on responding naturally in the moment.^[35]

On November 9, 2016, it was reported that Ray Liotta was in talks to join the film in the role of the manager to Cooper's character, though he ultimately was not involved.^[36] Howard Stern was the first choice for the role of Jackson's older brother Bobby, but he passed on the part.^[37] On March 17, 2017, Sam Elliott joined the film in the role.^[38] Cooper recalled that when he approached Elliott, he played him a recorded interview in which he imitated Elliott's voice, since he had already modeled Jackson's cadence on him. Cooper said Elliott's acceptance was crucial because months of vocal preparation had been built around that model.^[39] Also in March 2017, Andrew Dice Clay entered negotiations to play Lorenzo, the father of Lady Gaga's character, a role described as the comic relief in the film, and "very Italian".^[40] Clay was reportedly selected over Robert De Niro, John Turturro and John Travolta.^[41]

In April 2017, Rafi Gavron, Michael Harney, and Rebecca Field also joined the cast.^[42] In May, Dave Chappelle was cast in the film.^[43] To strengthen the film's sense of authenticity, Cooper also cast several drag performers, including some he knew from Philadelphia, along with Gaga's dancers, choreographer, and hair and makeup artists, in small roles.^[44] Shangela, who plays the drag-bar host, said Gaga encouraged her to audition after learning that she had initially skipped the casting call because the role was described as a Marilyn Monroe drag impersonator. Although Shangela was originally scheduled to film for one day, Cooper and Gaga expanded her and Willam Belli's involvement after their first day on set.^[45]

Writing and characterization

The screenplay for A Star Is Born was written by Eric Roth, Will Fetters, and Bradley Cooper. Roth became involved in the project around late 2017 and completed his work within approximately six weeks. He said he was initially hesitant to work on a remake of the earlier films, but considered it "a great challenge" and aimed to "stay as true as [he] could to the previous versions" while telling the story "in a more modern and contemporary way."^[46] Roth described the writing process as highly collaborative, noting that he and Cooper frequently exchanged and revised scenes during late-night sessions, sometimes writing at "three, four in the morning". He added that Cooper's perspective as a first-time director shaped the development of the screenplay, describing the process as different from his previous collaborations.^[46]

Roth joined the project after reading an earlier draft by Fetters and Cooper, suggesting revisions and reworking elements of the script under time pressure from the studio. He later recalled that the writing process ultimately lasted around eight weeks, which was significantly shorter than his usual projects, and that he continued revising material throughout filming.^[47] He characterized the collaboration as occasionally contentious but productive, noting that both he and Cooper were "a little prickly about criticism", while emphasizing that such disagreements were part of the creative process. Roth also described Cooper's approach as more spontaneous and open-ended than that of more experienced directors he had worked with, allowing for continuous revisions and an evolving script during production.^[47] In developing the screenplay, Roth focused on the central love story as its emotional foundation, noting that its built-in tragic ending aligned with his view that enduring love stories are often defined by obstacles that prevent the characters from remaining together.^[47] Cooper said he wanted the film to center on a "broken love story" and to explore unconditional love, abandonment, and the difficulty of basing one's self-worth too heavily on a relationship.^[48] According to Howell Taylor, Cooper's version differed from earlier adaptations by presenting Jackson not as a fading star, but as a successful musician still at the height of his career, whose lifelong struggle with addiction and internal turmoil gradually damages his relationship with Ally.^[49]

Roth generally avoided tailoring characters to specific actors, instead prioritizing distinct and psychologically grounded voices. In shaping Ally, he advised Gaga to draw inspiration from Cher's performance in Moonstruck (1987), citing a vulnerable quality alongside a character who is both self-assured and, at times, uncertain.^[47] Cooper said he wanted Ally to differ from earlier versions of the character by making her not an ingénue, but an artist around 30 confronting the possibility that her career might not happen.^[48] Cooper changed Jackson and Ally's first meeting to a drag bar after Gaga told him about performing in similar venues early in her career on Manhattan's Lower East Side.^[21] Roth added that the film adopted a more conversational and improvisational approach to dialogue, with Cooper encouraging a style that emphasized immediacy and intimacy.^[47] Gaga said that Cooper's off-script direction during their first day of filming helped her better understand the film's more spontaneous and emotionally immediate acting style.^[35]

One of Cooper's major additions to the screenplay was Jackson's relationship with his older half-brother and manager, Bobby, played by Sam Elliott. Cooper described their emotionally restrained dynamic as central to the film, and said he was especially nervous to film Jackson's pivotal admission about Bobby.^[39] Elliott's conversations with Cooper about family helped shape Jackson and Bobby's relationship.^[50] To develop Jackson's speaking voice, Cooper worked with dialect coach Tim Monich and modeled the character's cadence on Elliott, whose Sacramento upbringing and mother's Texas background gave him what Cooper considered a difficult-to-place "hybrid accent".^[32] Cooper connected the choice to Bruce Springsteen's memoir, in which Springsteen described taking on aspects of his father's voice. Cooper said the idea resonated with his own childhood wish to resemble his father, and made him realize he was "trying to become Sam Elliott vocally" for the role.^[34]

Direction and filming locations

Cooper emphasized emotional authenticity in directing the actors, saying that the film's personal details were meant to make the story feel more truthful. During emotionally difficult scenes, he preferred to remain physically close to the actors rather than direct from video monitors, believing that proximity made performers more willing to take risks. Gaga said this sense of trust shaped her confrontational scenes with Cooper, in which she felt both afraid and supported while acting opposite him. For Jackson's most inebriated moments, including the Grammy Awards sequence, Cooper remained partly in character while directing. Elliott recalled that after filming Jackson's confession to Bobby, Cooper finished the take, picked up a monitor, and immediately resumed directing; Elliott described the moment as watching "Bradley-actor" shift into "Bradley-director".^[50]

Principal photography for A Star Is Born commenced on April 17, 2017.^[1] The production emphasized authenticity by filming concert scenes at actual music festivals with live audiences. Key performances were shot at the Stagecoach Festival in Indio, California, between acts by Jamey Johnson and Willie Nelson, with the crew given only eight minutes to set up and film each scene.^[51] Additional concert sequences were filmed at Coachella and Glastonbury festivals.^[52] Lady Gaga headlined Coachella while also filming scenes for the film, allowing the production extended access to the festival grounds. Glastonbury scenes were filmed before a crowd of around 80,000, with Kris Kristofferson allowing the production a brief four-minute slot during his set to film on stage.^[53][51] Cooper said that performing live in front of large festival audiences was initially daunting but helped reinforce the film's commitment to authenticity once filming began.^[54]

The first onstage performance of "Shallow" was filmed at the Greek Theatre in Los Angeles, standing in for a Northern California venue. Most of the extras were Gaga fans recruited for the shoot, and Cooper, Gaga, Lukas Nelson and Promise of the Real performed several songs for the audience.^[55] The final performance sequence for "I'll Never Love Again" was shot at the Shrine Auditorium in Los Angeles, the same venue where Judy Garland filmed "The Man That Got Away" for the 1954 version of A Star Is Born. According to producer Bill Gerber, the connection was not the sole reason for choosing the venue, but gave the scene "poetic resonance". Cooper reworked the set-up with production designer Karen Murphy on the morning of the shoot.^[55] Multiple versions of the song were prepared in different tempos and keys so Gaga's performance could be adjusted during the shoot.^[56] The Grammy Awards sequence was also filmed at the Shrine Auditorium.^[52]

Additional scenes were filmed at Saturday Night Live using its actual studio, crew, and equipment, with permission from Lorne Michaels, creator and producer of the show.^[53] Cooper chose to film these sequences on the program's actual stage because he wanted to depict Ally's rise without relying on a conventional montage, viewing Saturday Night Live as a recognizable marker of mainstream success.^[32] The drag-bar scenes were filmed at The Virgil, a small club in downtown Los Angeles that Murphy transformed into the fictional venue Bleu Bleu.^[55] Willam Belli said Cooper gave the drag performers freedom to improvise, while Belli and Shangela adjusted small dressing-room details, including makeup products, to make the setting appear more authentic.^[57] Scenes showing Ally's commercial success were filmed at the Chateau Marmont on Sunset Boulevard in West Hollywood, where Jackson speaks to her about remaining true to herself after a billboard advertising Ally appears nearby.^[52]

Cinematography

Director Bradley Cooper and cinematographer Matthew Libatique sought to place the camera on stage with the performers, aiming for a documentary-like perspective that reflected the performers' viewpoint rather than that of the audience.^[53] Cooper explained that this approach was intended to immerse viewers in the experience of performing live, making them feel as though they were on stage rather than observing from the crowd.^[20] Libatique similarly said the concert sequences were shot from the stage's perspective so the audience would remain subjectively aligned with Ally and Jackson, and that each performance was approached like a narrative dialogue scene rather than a conventional music-video sequence.^[58] Cooper was inspired by observing concerts from backstage, which informed the film's immersive staging of musical numbers.^[53] In preparation, Libatique watched Rock Star (2001) and the concert film Stop Making Sense (1984), and attended live shows to study performance lighting. Cooper also told him about watching a stadium concert at Yankee Stadium as Lars Ulrich's guest, an experience that shaped their decision to film performances from the stage rather than from a proscenium-style audience viewpoint.^[59]

Cooper and Libatique employed a naturalistic visual style, using handheld cameras and natural lighting to create an intimate atmosphere.^[60] Because Cooper was a first-time director, Libatique kept the lighting comparatively simple, using broad lighting patterns and a restrained color palette to allow actor movement and improvisation while reducing technical complications.^[61] Libatique attributed the film's intimacy to keeping the actors close to the lens, rather than relying on traditional shot lists. He said Cooper had specific ideas about entering and leaving scenes, while camera placement was chosen to maximize emotional impact.^[62] Because Cooper was often acting while directing, Libatique said he sometimes had to make composition and shot decisions independently, while the camera operators also took on more responsibility than usual.^[63] Libatique also wanted Gaga to feel protected while portraying Ally's vulnerability, and framed her frequently in close-up, including extreme close-up, with lighting designed so she could perform without having to worry about finding the light or camera position.^[58][62] The film avoided traditional shot coverage in some dramatic scenes, instead choosing camera positions based on emotional emphasis and composition.^[64]

Libatique described red as a recurring visual motif connecting Jackson and Ally, first established in Jackson's performance world and later returning during Ally's "La Vie en rose" and "Shallow" performances, before disappearing near the end in favor of a white light associated with sobriety.^[58] He said the lighting palette was designed to reflect Jackson's descent and Ally's ascent: Jackson's world initially made Ally appear small within the scale of his performances, while the colors of his touring environment later informed the look of "Pop Ally", culminating in the neutral white light of the final scene.^[62] Libatique preferred to establish the film's color palette on set rather than substantially alter it in post-production, saying he wanted the dailies to reflect the intended look.^[63] In recording-studio scenes where smoke could not be used because of the equipment, Libatique used a Color-Con filter to bleed color into the shadows and imitate the softness created by atmosphere elsewhere in the film.^[65]

Most of the concert scenes were filmed during the first weeks of production, which helped establish the film's visual approach before the later dramatic scenes were shot.^[61] Libatique operated much of the musical material himself, often using handheld cameras for the concert scenes and low angles during Jackson's guitar solos so Cooper's playing remained visible.^[66] During real festival shoots, the crew often worked with only one or two cameras because of the limited time available on stage.^[59] Libatique used the same cameras as elsewhere in the film, but relied on existing lighting rigs at the venues, which his team adjusted to maintain visual consistency with the controlled concert scenes.^[62] Libatique noted that decisions regarding the film's visual style were made collaboratively, focusing on authenticity and tone.^[60]

Libatique used Cooke Anamorphic/i SF prime lenses as the film's base lens package, while switching to Kowa anamorphic lenses for a rougher look, particularly during tight performance shots of Cooper and Gaga on stage.^[65] The film was shot on Arri Alexa Mini cameras, which Libatique chose for their modularity, while the production avoided overly elaborate equipment so Cooper and Gaga could move and improvise freely.^[66] The production also utilized the PIX System for digital workflows, facilitating efficient collaboration among departments during filming.^[67]

Music and sound

Soundtrack

Main article: A Star Is Born (2018 soundtrack)

After seeing him perform at Desert Trip festival, Cooper approached Lukas Nelson and asked him to help work on the film. Nelson subsequently contributed several songs and later collaborated with Lady Gaga on additional material.^[71][72] During pre-production, Cooper undertook an intensive period of musical training, including daily guitar and piano practice as well as vocal coaching, while also working closely with Nelson on songwriting.^[54] The project further involved collaborators such as Mark Ronson, Hillary Lindsey, Jason Isbell, and Diane Warren, who contributed to the songwriting and production.^[73][74] Songs for the soundtrack were written during filming and evolved alongside the screenplay, with the music closely tied to the film's narrative and character development.^[75][76] As an example, "Shallow" was initially conceived as a solo end-credits track for Ally in an earlier version of the story, in which Jackson dies by drowning—a concept that informed the song's imagery—before being reworked into a central duet between the protagonists.^[77][78] The filmmakers opted to prioritize original songs over covers, with the exception of "La Vie en rose" and "Over the Rainbow". During early script readings, Lady Gaga performed songs live, helping to shape the film's musical direction.^[46] Cooper described the music as a "character" in the film, stating that no lyric was included unless it related directly to where the characters were emotionally, what they hoped for, or what they regretted.^[32]

A Star Is Born's music was issued on an accompanying soundtrack album on October 5, 2018, by Interscope Records.^[79] The release also includes fuller versions of songs heard only briefly in the film, as well as "Before I Cry", which did not make the final cut.^[80][81] The soundtrack received positive reviews from critics,^[82][83][84] and went on to rank among the best-selling albums of 2019 worldwide, selling millions of copies.^{[85][86][87][88]} Preceding its release, "Shallow" was issued as the lead single and achieved both critical acclaim and significant chart success.^[89]

Song placement

Quick facts External videos ...

External videos
Music video of the song "Shallow", featuring clips from the film on YouTube

Close

"Black Eyes" is performed by Jackson during the film's opening concert sequence.^[90] Ally hums the preamble to "Over the Rainbow" while walking up a ramp from her job as the film's title appears on screen; the moment serves as an homage to Judy Garland, who starred in 1954's A Star Is Born.^[91][92] At the drag bar where Jackson first meets her, Ally performs a cover of "La Vie en rose"; while waiting for her backstage, he sings the acoustic ballad "Maybe It's Time" in the same venue.^[81][93] "Shallow" appears three times in the film and is used to reflect the protagonists' relationship and emotional progression.^[94] "Too Far Gone" and "Diggin' My Grave" are briefly heard in Jackson-centered studio and soundcheck scenes, respectively.^[95][80] "Alibi" is performed by Jackson as Ally arrives at the theater to meet and perform with him onstage for the first time,^[96] while "Music to My Eyes" appears during the pair's motorcycle trip to Arizona.^[81] After Jackson recruits Ally for his tour, he encourages her to perform one of her original songs, "Always Remember Us This Way", as their encore;^[97] he later has a piano brought to the studio so she can record "Look What I Found".^[81] "I Don't Know What Love Is" accompanies Jackson and Ally's impromptu wedding.^[97] "Heal Me", "Hair Body Face" and "Why Did You Do That?" mark Ally's ascent as a solo artist, with the latter performed during her Saturday Night Live appearance that underscores Jackson's discomfort with her commercial pop direction.^{[98][99][100]} In the film's final sequence, Ally performs "I'll Never Love Again" before a large audience, intercut with an intimate scene of Jackson singing the song to her at home.^[81] "Is That Alright?" plays over the film's end credits as Ally's pledge to Jackson.^[101][97]

Editing

Editor Jay Cassidy described the film's guiding editorial principle was to "stay with the singer", avoiding excessive cutting during musical performances. Each song was edited according to its narrative function, with major numbers such as "Shallow" allowed to play longer while others were shortened once they had served the story. Because the production filmed numerous songs, including some in multiple locations and concert settings, the editors worked from a large library of musical material rather than a conventional first cut. The first version reviewed was about 25 minutes longer, with extended scenes and additional material later removed or simplified to clarify the narrative.^[102] The editing team also worked with early music mixes, allowing Cooper to review even rough assemblies with developed sound rather than waiting for later post-production stages.^[103]

Cassidy said "Black Eyes" established Jackson's musical world, the scale of his performances, and the film's use of songs as story functions. For "La Vie en rose", the editing minimized Jackson's reactions so the audience would see Ally largely as he sees her, while "Shallow" was structured as a "pied piper's call" drawing Ally from backstage to the microphone. The final performance of "I'll Never Love Again" became simpler over successive edits, ultimately using only three cuts separated by two flashbacks.^[104]

Libatique shared that he saw several early cuts of the film as Cooper worked to find its rhythm, noting that more material had been shot than could remain in the final version because the music required narrative space. He said Cooper's editing process focused on reducing the film to the "bare essence" of the love story, while preserving the parallel structure of Ally's rise and Jackson's decline.^[64]

Costume, hair and makeup

Makeup artist Sarah Tanno described Ally's appearance as the result of a "meticulous" daily process, which included covering all of Lady Gaga's tattoos to make her "completely different" from her public image. At the request of Gaga and Cooper, the character was initially presented with a minimal, "raw" look using only basic products such as brow gel and lip balm.^[105] For Ally's "La Vie en rose" performance, her Édith Piaf-inspired makeup includes taped-on eyebrows, which Jackson later removes backstage; Vanity Fair linked the moment to recurring eyebrow and makeover motifs in earlier A Star Is Born films.^[91] Gaga's longtime hairstylist Frederic Aspiras styled Ally's hair using Gaga's own hair rather than wigs, which he said helped transform her into the character.^[106] Gaga dyed her hair back to its natural color for the role, describing the change, along with wearing little makeup, as part of exposing herself physically and emotionally for the character.^[107] As Ally's career progresses, her makeup was gradually developed to appear more polished and self-applied, with new shapes, brighter eyeshadow and lipstick, and a shift from brunette to orange hair marking her transformation into a more manufactured pop star.^[105][108]

Costume designer Erin Benach similarly approached Ally's wardrobe as a reflection of her narrative arc, aiming to "personify the different beats" of her development from an aspiring musician to an established pop star.^[109] In the film's early scenes, Ally is presented in understated, everyday clothing—such as jeans and leather pants—to emphasize her anonymity and relatability, with the designers deliberately avoiding elements associated with Gaga's public image.^[110] For her introduction at a drag bar, Benach opted for a minimalist black dress rather than a more elaborate "drag" costume, a last-minute change made after observing the club's setting and performers, as the simpler look allowed Ally to stand out among the surrounding drag performers.^[110][109]

As Ally begins touring with Jackson, her wardrobe incorporates vintage and thrifted pieces inspired by her surroundings, reflecting her gradual immersion into his world.^[109][110] Benach noted that Ally's style shifts from her Los Angeles city life toward Jackson's country rock aesthetic, with the character acquiring clothing that reflects his influence while remaining consistent with her own identity.^[110] Although some outfits were designed to appear vintage, certain pieces—such as leopard print pants—were sourced from contemporary fashion brands.^[110] Benach sourced garments from vintage shops in Los Angeles and Long Beach, drawing on styles from the 1970s and 1980s, including Western-inspired shirts and dresses with fringe details.^[110] Vanity Fair interpreted Ally's wedding dress as a nod to Barbra Streisand's bohemian bridal look in the 1976 version of A Star Is Born.^[91] The costume team also created custom pieces for key performances, including an embroidered white jumpsuit worn during Ally's performance of "Always Remember Us This Way".^[110]

Later, as Ally achieves commercial success, her costumes shift toward more stylized and experimental pop aesthetics, representing a phase in which the character is "trying different looks" as she develops her stage persona.^[109][110] During this period, her performance outfits align with her emerging pop image, including a sparkly crop top and transparent cargo pants worn during her Saturday Night Live appearance, with Benach citing runway trends and 1990s girl groups such as Destiny's Child as influences.^[110] This progression culminates in more elaborate stage and award-show attire, including a custom gold gown created by Gucci for the film's Grammy Awards sequence.^[110] For the film's finale, Benach and her team designed a robin egg blue gown for Ally's performance of "I'll Never Love Again", inspired by Grace Kelly's 1955 Academy Awards dress.^[110][111] The understated design was intended to avoid distracting from the emotional impact of the scene, with Benach noting that "as soon as you put a really strong design on her, it just took away from the moment".^[110] She added that the dress's pale color was chosen to stand out against the dark stage and to convey hopefulness rather than sadness.^[111] Benach also emphasized a "timeless" approach to the film's costume design, avoiding direct imitation of contemporary pop stars in order to create a more universal and enduring visual identity.^[109][110]

For Jackson, Benach based the character's wardrobe on his musical identity, initially experimenting with a more overt rock-inspired style before refining it to better align with his sound.^[109] She ultimately developed a consistent "uniform" for the character, emphasizing a "sexy" and "effortless" aesthetic through carefully curated garments.^[109] Many of his costumes were custom-made to appear casual and unstyled, including modified vintage-inspired pieces such as button-down shirts, reinforcing a consistent and unchanging personal style.^[109] Cooper also wanted Jackson's hat to invert a common country-music convention: rather than putting it on for performance, Jackson wears it offstage and removes it when performing, exposing him at his most vulnerable.^[91]

Marketing

The film's first trailer was released on June 6, 2018.^[112] It previewed original music from the film, opening with Jackson's performance of "Maybe It's Time" and closing with Ally singing "Shallow" after he invites her onstage.^[113] The trailer reportedly drew 70 million views in its first 24 hours.^[114] Later that month, Cooper promoted the film at CineEurope in Barcelona, where Warner Bros. screened the trailer and premiered the film's first eight minutes for exhibitors.^[114] Warner Bros. also partnered with Spotify on a promotional video advertisement using 3D sound, designed to mimic the surround-sound experience of watching the film in a theater with headphones.^[115] The studio's worldwide marketing and release expenses were estimated at $110 million, covering its festival rollout, theatrical promotion, and awards campaign.^[116]

Theatrical release

A Star Is Born had its world premiere at the 75th Venice International Film Festival on August 31, 2018.^[117] The movie also screened at the Toronto International Film Festival,^[118] the San Sebastián International Film Festival,^[119] and the Zurich Film Festival in September 2018.^[120]

The film was theatrically released in the United States on October 5, 2018,^[121] distributed by Warner Bros. Pictures, after having initially been set for release on September 28, 2018, and then rescheduled to May 18, 2018, before being pushed back to October.^[122][123] Beginning December 7, 2018, the film received a one-week limited engagement in select IMAX theaters across the United States and Canada. The screenings included The Road to Stardom, an exclusive behind-the-scenes look at the film's production featuring Cooper and Gaga.^[124]

Home media

The film was available for digital download through retailers on January 15, 2019, followed by its release on Blu-ray, DVD and 4K Ultra HD Blu-ray on February 19. The home video release features 10 minutes of musical performances that were cut from the theatrical version of the film, and jam recording sessions of songs like "Midnight Special", "Is That Alright?" and "Baby What You Want Me to Do".^[127] The home video release also included the behind-the-scenes featurette The Road to Stardom, along with music videos for four soundtrack songs: "Shallow", "Always Remember Us This Way", "Look What I Found" and "I'll Never Love Again".^[128] The 4K Blu-ray format has Dolby Vision high-dynamic-range video and remixed Dolby Atmos sound that was tailored specifically for home viewing systems.^[129]

In April 2019, Warner Bros. Home Entertainment announced the release of A Star Is Born: Special Encore Edition for June 4. The release includes the extended and theatrical cuts of the film. Unlike the first home media release, this version did not receive a 4K Ultra HD release.^[130] The film was later bundled with the soundtrack as part of the A Star Is Born – VIP Pass Edition, released on November 25, 2019. This edition includes both versions of the film on Blu-ray, the soundtrack on CD, three limited-edition posters, a 32-page booklet, and six exclusive art cards.^[131] Additional bundle editions combining the film and soundtrack were also issued in select markets.^[132][133]

Box office

A Star Is Born grossed $215.3 million in the United States and Canada, and $220.9 million in other territories, for a total worldwide gross of $436.2 million, against a production budget of $36 million.^[7] Deadline Hollywood calculated the net profit of the film to be $178.1 million, when factoring together all expenses and revenues, making it the tenth most profitable release of 2018.^[116]

In the United States and Canada, A Star Is Born grossed $1.35 million from select Tuesday and Wednesday night screenings, and $15.8 million on its first day, including $3.2 million from Thursday night previews. It went on to debut to $42.9 million for the weekend and finished second at the box office, behind fellow newcomer Venom.^[134] The film remained in second place in its second, third and fourth weekends, grossing a respective $28 million, $19.3 million and $14.1 million.^{[135][136][137]} In the film's tenth weekend of release, following the announcement of its five Golden Globe nominations, the film made $2.5 million (up 38% from the previous week), including $800,000 from a limited IMAX run.^[138] In the film's 17th week of release, following its eight Oscar nominations, it was added back to an additional 777 theaters (for a total of 1,192) and made $1.3 million, an increase of 107% from the previous weekend.^[139] The weekend following its Best Original Song win at the Oscars, the film was added to 490 theaters (for a total of 1,235) and made $1.9 million, a 209% increase from the previous weekend.^[140]

Outside North America, the film was released concurrently in 31 other countries, and made $14.2 million in its opening weekend; its largest markets were the United Kingdom ($5.3 million), France ($2.1 million) and Germany ($1.9 million). Additional countries followed, with Japan not seeing a release until December 21.^[141] The international box office for the film was substantial by the end of October 2018 despite being outpaced by the film Venom at the foreign box office. A Star Is Born continued strong international performance, earning $22.8 million from 75 overseas markets, bringing its total to $74.7 million internationally and $201 million worldwide. It opened with $4.7 million in Australia and $629,000 in Hong Kong, while the strongest holdover markets included the United Kingdom ($3.9 million), Italy ($1.5 million), and France ($1.5 million).^[142]

Critical response

The performances of Bradley Cooper, Lady Gaga and Sam Elliott garnered widespread critical acclaim, earning them Academy Award nominations for Best Actor, Best Actress and Best Supporting Actor respectively.^[143][144]

On the review aggregator website Rotten Tomatoes, 90% of 550 critics' reviews are positive, with an average rating of 8.1/10. The website's consensus reads: "With appealing leads, deft direction, and an affecting love story, A Star Is Born is a remake done right—and a reminder that some stories can be just as effective in the retelling."^[145] On Metacritic, the film has a weighted average score of 88 out of 100, based on 60 critics, indicating "universal acclaim".^[146] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale,^[147] while PostTrak reported film-goers gave it a 90% positive score and an average of 4.5 out of 5 stars.^[134]

Alonso Duralde of TheWrap gave the film a positive review, saying, "Cooper and Gaga are dynamite together; this is a story that lives and dies by the central relationship and the instant chemistry that must blossom between them, and these two have it in spades," and praised the musical numbers, describing them as "electrifying".^[148] Owen Gleiberman of Variety lauded Cooper's directing, co-writing and acting, and called the film "a transcendent Hollywood movie".^[149] Leah Greenblatt of Entertainment Weekly gave the film a B+ and singled out Gaga's performance, saying that she "deserves praise for her restrained, human-scale performance as a singer whose real-girl vulnerability lands miles away from the glittery meat-dress delirium of her own stage persona."^[143] Stephanie Zacharek of Time magazine found the film superior to its previous iterations and similarly praised Cooper's direction, the writing, as well the performances and chemistry of Cooper and Gaga. She stated: "You come away feeling something for these people, flawed individuals who are trying to hold their cracked pieces of self together—or to mend the cracks of those they love," also describing Gaga's performance as a "knockout."^[150]

In his review for the Los Angeles Times, Justin Chang called the film "remarkable", and praised Cooper for his fresh take on the well-worn formula of 1937 film, as well his direction, the performances, writing, and the cinematography.^[144] Peter Travers of Rolling Stone gave the film 4.5 out of five stars, and deemed it as a "modern classic", hailing the performances of Cooper and Gaga, and Cooper's direction. He found the film's screenplay and the original songs "seamless" and "terrific", and also called the film a major Oscar contender of the year and one of the year's best films.^[151] Ann Hornaday of The Washington Post described the film as "lavishly delightful" and "earthly convincing", and added that it "offers a suitably jaundiced glimpse of starmaking machinery at its most cynical, but also its most thrilling and gratifying." She similarly praised Cooper's direction, the performances and chemistry of Cooper and Gaga, and the supporting performances, particularly Andrew Dice Clay and Sam Elliott.^[152] Writing for the Chicago Sun-Times, Richard Roeper described it as "electric and shatteringly powerful" and remarked the film as one of the best versions of all the remakes, as well one of the best films of the year.^[153]

While praising the direction, acting and writing, Michael Phillips in the Chicago Tribune argues that A Star is Born's formula has always been very seductive to audiences, even when it has been written poorly, and Cooper's few missteps include being a bit of a scene hog.^[154] Admitting audiences love it, and he just liked it, Phillips drew attention to a skeptical review by Lindsey Romaine for Medium who criticized the story's marginalization of the Gaga character in dealing with Cooper's manipulative addict. She at least wanted a scene where Gaga's character processed her behavior of letting the addict boyfriend get away with it. Phillips argued that it is in part the skillful musicianship which gets audiences overlook such flaws.^[155] Jennifer Michael Hecht of Vox praised the film's depiction of addiction and emotional pain, but criticized its suicide sequence as overly explicit. She argued that the ending risks reinforcing the myth of a "generous" suicide by framing Jackson's death as enbling Ally's final ascent, unlike the 1954 version, whose ending presents Esther's future after her husband's death more bleakly.^[156] Nate Jones of Vulture argued that A Star Is Born presents pop stardom as an alluring but unhealthy distraction, while crediting Cooper with making the film's world of fame feel convincing through details such as handlers, fans, and industry settings.^[157]

In August 2021, it was reported that Barbra Streisand, who starred in the 1976 remake of A Star Is Born, criticized the 2018 film as a "remake of a remake" and said it had been the "wrong idea".^[158] Her remarks contrasted with comments she made in a 2018 interview with Extra, in which she said she "loved" the film and called Gaga "wonderful".^[159]

In 2021, The Guardian placed A Star Is Born on their list of "Remakes that Outshine the Originals",^[160] while in 2024, Variety ranked it fifth on their "50 Greatest Romantic Movie of All Time" list.^[161] In 2023, filmmaker Denis Villeneuve cited it as among his favorite films.^[162]

Top ten lists

A Star Is Born was listed on numerous critics' top ten lists for 2018, among them:^[163]

Accolades

The film has won a number of awards and nominations. It was chosen by both the National Board of Review and American Film Institute as one of the Top 10 Films of 2018.^[164][165] The film received five nominations at the 76th Golden Globe Awards, including Best Motion Picture – Drama,^[166] and eight nominations at the 91st Academy Awards, including Best Picture, winning Best Original Song for "Shallow".^[167]