Academy Mails Oscar Nomination Ballots

The Oscar nominating ballots are in the mail.On Tuesday, the Academy of Motion Picture Arts and Sciences mailed nomination ballots for the 84 th Academy Awards to its 5,783 voting members.Completed ballots must be returned to PricewaterhouseCoopers by 5 p.m. PT on Jan. 13.The nominations will be announced Jan. 24, and the Oscars themselves will be broadcast live by ABC from the Kodak Theatre in Hollywood on Feb. 26. The Hollywood Reporter

Jessica Biel Finds Truth About Fishes

Joining Kaya ScodelarioSwitching up the big studio projects with the smaller indie fare has always seemed to be Jessica Biel's modus operandi. Fitting then, that Biel will be joining Kaya Scodelario in Emanuel And The Truth About Fishes, following her sci-fi ass-kicking in Len Wiseman'sTotal Recall.As reported last week, Scodelario replaced Rooney Mara in the drama that marks Francesca Gregorini's second directorial effort (following Tanner Hall). Early reports revealed that it's about a young girl who's obsessed with her neighbour because she bears an uncanny resemblance to her dead mother, and agrees to babysit said neighbour's child, which turns out to be a lifelike doll.We're now hearing that the neighbour's name is Linda, and that the doll is a surrogate, since Linda is dealing with the emotional after-effects of the death of her daughter. So it's not quite the bonkers Lars And The Real Girl-alike that it initially appeared. Since Emanuel has lost a mother and Linda has lost a daughter, we're starting to infer the film's emotional end-point. Early days yet though, so there's no real telling what might be in store.Linda is the role that Biel's in line for, and while she hasn't officially quite signed yet, she's apparently in "final talks". The screenplay is Gregorini's own, and shooting presumably starts sometime early next year.

Longtime teams keep work fresh

Thelma Schoonmaker gave Sacha Baron Cohen's dialogue air in 'Hugo.'The 'J. Edgar' editors shared the fight sceneLongtime editor-director teams tend to develop a working shorthand together over the years, which carries from one project to the next across their bodies of work.Yet after a decade or more of collaboration, how do editors keep their work fresh, while infusing films with a director's signature style?Often, the helmer's approach to projects is key. The editors of "J. Edgar" say Clint Eastwood's decisive approach to filmmaking makes every project feel fresh -- even after 36 years as a team. Joel Cox says Eastwood's belief in both trusting one's gut and letting the film find itself allows for creative freedom and brings energy in every project."There's something about your first instinct when you see something that you hold as a memory," Cox says. "When you start to play around with it you can't do the films like we're doing, the emotional films, you can't edit them that way, because emotion is moments."Films -- they're like a special wine," he adds. "If you allow them to breathe and open up, sometimes you find magic that is not on the page but ends up on the screen."That philosophy inspired Cox and co-editor Gary Roach to split a cut between them for the first time on "J. Edgar," in a crucial segment in which Hoover (Leonardo DiCaprio) and his second-in-command, Clyde Tolson (Armie Hammer), have a fistfight that's taut with romantic tension. The scene, with its slow build and ultimate explosiveness, was the film's most challenging for the editors. Dividing it helped them manage the sequence, as well as achieve Eastwood's signature emotional style.In Alexander Payne's "The Descendants," which examines a family's dynamics after the wife/mother suffers a mortal injury, editor Kevin Tent was driven by the dynamic that's evolved through 16 years of working with the director, as well as fresh hurdles in the material."We are both hard on each other and hard on the film to make sure it keeps getting better."In their latest collaboration, he says, "The challenge was trying to keep it light with comedic moments, but to not cheapen the heartfelt sorrow.""We also didn't want to make it such a heavy drama that people were going to slit their wrists afterward."The twin importance of the director's approach and a history of collaboration is also key to a fresh take for Thelma Schoonmaker, who has been cutting for Martin Scorsese for more than 30 years. "(Scorsese) is always pushing himself, he wants to experiment, and that means I get to do that too," Schoonmaker says. "Hugo," a period piece about a young boy who helps rediscover forgotten movie pioneer Georges Melies, is their latest collaboration, and their first in 3D. "Every cut is a new problem to solve, or something to enjoy," she says.One of Schoonmaker's biggest challenges in "Hugo" was incorporating Sacha Baron Cohen's improvisational style with the rest of the performances.In one particularly tricky scene, Cohen's socially inept Station Inspector approaches Emily Mortimer's soft-spoken flower-seller to make a romantic overture. Schoonmaker left extra pauses in Cohen's dialogue to balance their performances and enhance the comedy -- a trick she learned on Scorsese's 1990 gangster film, "Goodfellas."Eye on the Oscars: Vfx, Sound & Editing Thesps up f/x respect | Longtime teams keep work fresh | Randy's Rules for top sound | Sound editing: Always make dramatic sense | Sound Mixing: Making it all feel real | Digital tools add quality, cut costs Contact the Variety newsroom at news@variety.com

The Sitter: Film Review

This story appears in the Dec. 16 issue of The Hollywood Reporter. Earvin "Magic"Johnson, now 52, won five NBA titles when he played for the 1980s "Showtime" Lakers; his Magic Johnson Enterprises, which once included a theater chain, was estimated by Forbes in 2009 to be worth $500 million; and as of Dec. 2, he was part of a bid to buy the Los Angeles Dodgers. But he threw up a brick when he entered the late-night talk show business with 1998's The Magic Hour, two years after ending his 13-year playing career. The Hollywood Reporter review said the syndicated Twentieth Television show was "absent the spark of spontaneity and sharp conversation." While Magic Hour started strong and even briefly topped CBS' Late Show With David Letterman in the NY ratings, success was fleeting. Critics said Johnson seemed stiff on-air, was prone to mumbling and had poor interviewing skills. His sidekick, comic Craig Shoemaker, was fired for calling the show "an absolute nightmare." But Magic Hour did have one high point when its most high-profile critic, Howard Stern, was invited as a guest. The shock jock began by asking, "Where's the white guy, the comedian?" (Johnson's response: "We weren't clicking"), then gave the novice host interviewing advice ("Loosen up and talk Ebonics all you want. Why does everyone have to understand every word you say?") and asked detailed questions about Johnson's sex life before becoming HIV-positive in 1991. Although the Stern appearance doubled the show's ratings, it was off the air after three months. Johnson then focused on deals with Burger King, PepsiCo, Ron Burkle and others that financially freed him from ever having to host a talk show again. Related Topics Howard Stern Earvin Magic Johnson

Odom trade may alter 'Khloe & Lamar' production

'Khloe and Lamar'If the Los Angeles Lakers' proposed trade of Lamar Odom to the New Orleans Hornets becomes official, the move may affect production on E!'s reality series "Khloe & Lamar." The "Keeping Up With the Kardashian" spinoff is currently in production on the second season, shooting in Los Angeles. With the NBA season delayed until a start date of Dec. 25 due to the lockout, Odom would have to move to the Big Easy imminently. E! has not yet made a decision on whether it will follow Odom, and presumably wife Khloe Kardashian, permanently to New Orleans. Eight-episode first season ran in April and May earlier this year. Finale drew 2.5 million viewers. Show is exec produced by Ryan Seacrest, Eliot Goldberg, Jeff Jenkins and Jonathan Murray. Contact Stuart Levine at stuart.levine@variety.com

Adele Is iTunes' Top Seller in 2011, Foo Fighters' 'Wasting Light' Named Album of the Year by Apple Staff

MythBusters Adam Savage and Jamie Hyneman visited the Northern California neighborhood that was damaged by their cannonball experiment gone wrong earlier this week.our editor recommendsOops, 'MythBusters' Launches Cannonball Through Family's Home'MythBusters' Host Jamie Hyneman Logs 30,000 Followers on First Day of Twitter Account The duo met with families in Dublin, Calif. on Wednesday, and offered to play for property damage and hotel charges incurred by the families affected. PHOTOS: Lights, Camera, Accident! 20 Hollywood Stunts Gone Wrong Savage told the Los Angeles Times, "We feel really lucky and fortunate that, after a nearly perfect safety record over eight years, that this mishap didn't lead to anybody being injured. "We're gathering all the information we can. ... Our main concern is making sure this never happens again." PHOTOS: 10 Broadcast and Cable TV Show Most Watched By Men Savage also wrote in a series of tweets, "It's true, a cannonball got away from a Mythbusters experiment in Dublin, CA. Nobody hurt thank goodness. Jamie and I toured the damage." "Now it's back to SF, to meet and discuss how to keep this from ever happening again. Very intense. We're SUPER relieved no one was hurt." The show's star also assured fans on Thursday that the program would not be cancelled because of the accident, "Tweeps: thanks SO much for all the kind support. FYI, Mythbusters has NOT be suspended/cancelled. We're still in production. Happy holidays." Co-star Hyneman said the accident would not happen again, "Loose cannon: glad no one was hurt. Won't happen again." Discovery Channel and Beyond Productions described the incident as such: "On Tuesday, December 6, 2011, MythBusters was filming on a closed set at the Alameda County Sheriff's Department bomb range in Alameda County, California. During the testing, a cannonball took an unforeseen bounce from a safety berm. No injuries were reported, but damage was reported in one Dublin home and one parked car. "Sgt. JD Nelson, Public Information Officer and bomb technician for the Alameda County Sheriff's office, who is a regular safety explosives expert for MythBusters, was on site and all proper safety protocol was observed. Beyond Productions is currently assessing the situation and working with those whose property was affected." PHOTO GALLERY: View Gallery Lights, Camera, Accident! 20 Hollywood Stunts Gone Wrong Related Topics Jamie Hyneman MythBusters Adam Savage

Carrie Fisher, Carson Kressley to Star in Modern-Day 'Christmas Carol' for Hallmark Channel (Exclusive)

NY - CBS Corp. is seeing continued advertising momentum, expects digital distribution deals to provide a continuing revenue stream and wants a healthy Netflix, which has paid up for library content deals with the company, president and CEO Leslie Moonves said here Tuesday in kicking off the second day of the 39th annual UBS Global Media and Communications Conference on a typically bullish note.our editor recommendsCBS' Leslie Moonves on Charlie Sheen Debacle: 'S--- Happens'CBS News Retires 'Early Show' Title He also said his company wants to remain in business with the NFL, even though he didn't confirm that a new long-term NFL TV deal was close to being signed. Asked about the advertising market late in the year, Moonves said scatter ad market sales remain up in the mid-teens percentage range at CBS, even though competitors with weaker ratings are not doing as well. With the year-end approaching, "demand is picking up again," he said, and trends in the first quarter are looking "promising" with few cancellations. Summarized Moonves: "We're feeling good about advertising" - both nationally and locally. Moonves on Tuesday also once again lauded the "extremely solid" programming schedule at CBS and suggested that the broadcast business is" taking share away from cable," he said. Asked about concerns that broadcast TV may face some fallout from the availability of more content in new forms, Moonves said there was no sign that cable, the Internet or anything else has hurt ratings or financials. Asked about Netflix and its recent subscriber issues, Moonves said: "We want a healthy Netflix...We're rooting for them. We hope they continue to remain strong" and gain subs. The company has become "much more of a friend than a foe," he said. And Moonves said international growth by Netflix makes CBS "very excited" about potential upside in the likes of the U.K. and Canada. Asked about recent online content deals more broadly, which some analysts have predicted will slow down, Moonves said "the future looks extremely bright for this revenue stream to continue forever." And overall deals this year have turned out better than expected. He reiterated that hundreds of millions of dollars in deals for library content are flowing to CBS Corp. "Exclusivity we have avoided," because it is a "dirty word," he quipped. After all, the company wants to be open to whoever else gets into the digital distribution space, including Apple and Google. Other companies are "kicking the tires" for additional digital distribution deals, he said. "You have not heard the last of these deals." Moonves also reiterated on Tuesday that "primary engines" for his company are the CBS network and Showtime, which he called the "family jewels." With retransmission fees rising and syndication strong, "why would you mess with that," Moonves said. Speaking of Showtime, Moonves told the UBS conference that Homeland is "the best show on television." He added: "It's a great hit." He later told The Hollywood Reporter that he is, of course, proud of all the hit shows on his networks. Moonves told the UBS conference that Showtime continues to look for more original content, including upcoming Don Cheadle comedy House of Lies, which he accidentally called House of Cards, the name of Netflix's first push into original programming, before correcting himself right away. The CBS boss also got a question about the future of football content on the network. The NFL is reportedly close to signing an eight-year extension of TV rights deals to 2021 with broadcast partners CBS, Fox and NBC that would earn it about $3.2 billion a year, a 60 percent increase over the current contract. "I assume we'll continue to be in business with the NFL," Moonves told the UBS conference. It is "an unbelievable property" as even a bad football game outrates most programming, he said, adding that CBS is making a lot of money from the CBS. While retransmission consent fees will continue to rise from current levels, sports deals will take up "some of that money," Moonves said, but described this as "nothing to worry about." Nomura analyst Michael Nathanson said early Tuesday that 2014 could mean some headwinds from a new NFL deal for CBS. The cost for the NFL should go up since it has done "extremely well," but Moonves emphasized that the league "likes their partners to be strong" and make money. "We hope it continues for many years." Asked about his broader plans for sports coverage, Moonves said: "We really love the mix of sports programming we have...I'm not looking to expand...We're as solid as we have ever been." He pointed to the company's NFL, SEC, NCAA and golf events coverage. Moonves said CBS has no major revenue from reverse retrans deals with TV station groups yet, with 2013 starting to see financials from that revenue stream becoming more significant. His firm looks at each station group separately though, and there isn't a finite solution, he emphasized. Some struggle, so "we're not going to go after them as much," Moonves said, describing overall network-stations relationships at CBS as good. Asked about the use of cash at CBS Corp., Moonves said it could well raise its dividend next year. And while it plans no major acquisitions right now, the company will keep its eyes open for possible deals if they make financial and strategic sense, he said. Moonves started the second day of the UBS conference. Monday night, UBS had organized a cocktail reception at a bar near the conference location, the Grand Hyatt hotel in midtown Manhattan. Among those schmoozing at the reception were Aryeh Bourkoff, vice chairman, head of investment banking, Americas at UBS, Madonna manager Guy Oseary, ICM's Patti Kim, Showtime boss Matt Blank, TiVo CEO Tom Rogers, Dish Network board member Carl Vogel, Time Warner CFO John Martin, Anschutz executive Daniel Benel, Electronic Arts CFO Eric Brown, Katherine Keating, the daughter of the former prime minister of Australia, and former Sundance Channel CEO Larry Aidem. Email: Georg.Szalai@thr.com Twitter: @georgszalai Related Topics Leslie Moonves CBS CBS Corporation

Work of Art's Michelle on What Went Wrong, the Kymia Controversy and Why Poop Is a Good Thing

Michelle, Work Of Art Jerry Saltz picked Work of Art contestant Michelle Matson to win the whole thing - her first two pieces "The Eternal Woodsman" and "Dirty Playground" made her a frontrunner early on. But when she was faced with having to create something out of the pieces of a Fiat 500, Matson's anthropomorphic vision of a happy/sad car got her nothing but the boot. While traveling abroad, the 29-year-old Brooklyn artist who specializes in unusual paper-based creations, told TVGuide.com via e-mail about what went wrong, the Kymia controversy and her obsession with poop. Jerry is pretty much devastated to have sent you home. Does that make you feel any better? He writes that behind the scenes, he really tried to save the entire bottom three. Michelle Matson: It makes me feel amazing to have such a well-regarded critic in my corner -- even if I did end up getting sent home. However, I would have loved it if we were all allowed a pardon! Mental hiccup!! Work of Art's The Sucklord on how the kids challenge ruined him Were you surprised to have been cut? What did you think of the criticism of your piece? Why do you think Lola and Kymia were spared? Matson: I was surprised, but not shocked. I felt that the three of us made pretty poor pieces and in my opinion the criticism was fair. Someone had to be sent home. Given a second chance, would you have stuck with your original human body made of car parts idea? Or the steamy, sinful car windows? (In his recap, Jerry writes that your first idea would have been your "best piece" yet.) Matson: In retrospect, I wish I had stuck with my original idea. It was the piece I was most excited by and I think it would have turned out very well. Why do you think you second-guessed yourself this week? Even when Simon didn't seem sold by your Diet Coke can in Pop Art Week, you stuck with it. Matson: Well, it's not as simple as all that. During the Pop Challenge I made a second piece which Simon and I discussed in depth. Simon is a very intelligent man and a convincing mentor. I respect his opinion, and wish I had made better choices for this challenge. Work of Art's Bayete: I couldn't pull it together at all Why did you and Lola ignore Kymia when she was asking to use the computers during Street Art Week? Why is everyone annoyed by her? Did you also stick stickers on her street art or was that just Lola? Matson: When a bunch of artists are working in close proximity to one another it generates a lot of noise and distraction -- you learn to tune stuff out in order to concentrate. It's like reading on the subway. I think Kymia was feeling the stress of the challenge and overreacted to a perceived slight. Lola and I directed the crowd to stick the stickers everywhere. There were stickers all over DUMBO. It was great -- the crowd was like a swarm of bees. I revisited the site recently and there are still little tiger cigarettes here and there, stuck under guardrails and on stop signs. Which piece that you made on the show are you most proud of and why? Matson: Probably the kids challenge, I was really loving the grassy landscape and vines growing all over that piece. It has really inspired my latest body of work -- it's a totally new direction for me. Nature! Why poop? It was a subject you also wanted to return to during movement week. Matson: I love how the body works, it's this amazing perfect/imperfect thing. Birth, death, growth, digestion, cell regeneration, bodily failure, reproduction... it's all fascinating to me. Poop is one of those things that is equal parts necessary, gross and kinda enjoyable. Everyone feels better after a good poop. What's next for you? Matson: I'm exhibiting some brand new pieces next month at this amazing artist-run project space: Youth Group Gallery in Brooklyn, NY. The opening is January 27th.

Celebrate Britney Spears' 30th Birthday With a Look Back at Crossroads

News flash, people: Britney Spears is 30 years old today. Oh, how the years (and ruined relationships and children and countless bags of Cheetos) have flown by! In honor of the pop princess’s milestone birthday, let’s flash back to the year 2002, a time when Brit-Brit was not a girl, and not yet a woman. When she debuted her first starring turn, the start of a promising career as a serious dramatic actress! When Zoe Saldana was just that girl from Center Stage! Let us return to Crossroads. I’ve always had a soft spot for Crossroads — moreso than I do for Britney herself — and that has everything to do with timing. The spring of 2002 was the height of youth pop culture fandom for anyone who grew up watching Spears, Justin Timberlake, and Christina Aguilera on The New Mickey Mouse Club: Britney was the golden girl of post-MMC stardom, had already topped the charts and earned a Grammy nod, and she was dating Justin Timberlake OF ‘NSYNC FAME. But just as she’d morphed from bubblegum tunes and schoolgirl uniforms of “Baby One More Time” to the coy, latex-ed Euro-pop of “Oops… I Did It Again,” Spears was ready for another transformation. Enter Crossroads, which combined with the python-accessorized “I’m a Slave 4 U,” announced that Britney was all grown up, kinda. Directed by Tamra Davis and penned by a pre-Grey’s Anatomy Shonda Rhimes, Crossroads followed three high school graduates (Spears, Saldana, and Taryn Manning) on a road trip to Los Angeles. Each young heroine had an objective of her own — travel, find an estranged mother, see a fiance — but only Britney got to sleep with Anson Mount and discover her inner rock star while singing “I Love Rock ‘n’ Roll” for tips at a roadside karaoke contest. Side note: Points for the pre-zeitgeist love for karaoke, but no karaoke joint I know collects tips for random amateurs warbling cover songs, bare midriff or no. And anyone who actually sings “I Love Rock ‘n’ Roll” at karaoke should be paying the audience, not the other way around. Double side note: I once sang “I’m Not a Girl, Not Yet a Woman” at a karaoke bar because Anson Mount was there. He left before my song came up. I did not receive tips. Anyways, I digress. For a widely-panned and fairly vanilla teen roadtrip vanity project, Crossroads was surprisingly charming. An instant guilty pleasure! It predated the wave of tween idol vehicles that followed, although fellow songstress Mandy Moore beat Britney to the punch by a month with the Nicholas Sparks weepie A Walk to Remember (“Aaaand I lift my hands and praaaay…”) , but that’s a BMWL candidate for another conversation. And again, it was timing. Crossroads fared decently, all things considered — $61 million at the box office on a $12 million budget, plus years of royalties in karaoke renditions of “I’m Not a Girl, Not Yet a Woman” (see above) — but it marked a turning point for Spears. Within months of the film’s debut, her split from Timberlake went public. The following year at the MTV Music Awards she shook tongues with Madonna. Then came her first marriage, her second marriage, the K-Fed years, the babies, rehab, and her comeback… all before the age of 30. So take a bow, Britney! You’ve lived (and then some). But I’ll always remember you as that plucky bucket hat-wearing, GAP sweatpants-clad goody two-shoes from Crossroads, and not as the pop idol whose name once became synonymous with her own ladyparts. Join me, readers! Name your favorite/most notorious Britney moment below.

Tilda Swinton on We Need to Talk About Kevin, the Joys of Chaos, and What 'Indie' Means Today

Another year, another blisteringly grand performance from Tilda Swinton: After a run that commenced with her Oscar-winning role in Michael Clayton and continued with her underseen creative triumphs Julia and I Am Love, Swinton arrives in theaters next week as the haunted lead in We Need to Talk About Kevin. If there is any justice in the Oscar cosmos, she’ll be back in the Kodak Theater as at least a nominee come February. Of course, that cosmos knows little justice, and anyway, that’s not why Swinton is in the business. “I don’t choose roles; I choose people,” she said at a recent guild screening of Kevin in NY City — a reference to her friend Lynne Ramsay, the brilliant filmmaker behind Ratcatcher (1999) and Morvern Callar (2002) who makes her return to directing after nearly a decade away. Along with Rory Kinnear, Ramsay adapted Lionel Shriver’s epistolary novel about Eva Katchadourian (Swinton), an erstwhile travel writer who settles down to motherhood despite her acute unease with the concept. Her pregnancy yields Kevin, the raven-haired baddest of bad seeds who reflects back to Eva every dark apprehension under which he was conceived. When, as a teenager (played by a smoldering Ezra Miller), he commits an unthinkable crime, Eva is left to face the consequences alone as the community’s most notorious pariah. Swinton and I caught up yesterday in NY City, a day after the actress-producer-artist presented the Gotham Awards’ Best Feature prize and at the start of another week of appearances geared to stir much-needed (and much-deserved) word of mouth about We Need to Talk About Kevin. (The film opens Dec. 9 in limited release and will roll out nationally through the winter.) How were the Gothams last night? They were a blur, but they were fun. They were great. I’d never been before. Really? First time! It’s funny, because to announce something like a tie between The Tree of Life and Beginners, were you thinking, “These are indies?” Or is “indie film” just a matter of semantics now? It all gets lost in translation. I have no idea what “indie” means now. I certainly don’t know what it means here. I really don’t. It means something different every decade, I think. There was a time when it didn’t have a capital “I,” and now it does. Now it has award shows. It has studio backing a lot of the time. So I myself am bemused, but I’m a little bit of a Rip Van Winkle when it comes to “indie.” The roots of it were different anyway in Europe than in America. So I really don’t know. As the co-producer of We Need to Talk About Kevin, would you call this an indie? Well, you could say that’s it’s not an indie because it received money from BBC Films. But then you could also say it’s an indie because the hard core of the people who made it worked on it unpaid for several years. It didn’t have development finance. You could say that that qualifies a film as independent. I mean, we all wish we were Stanley Kubrick, working on something for over a decade, funded by Warner Bros. I would love that. But when you’re working on a film like I Am Love for a dozen years on a song and a prayer, that feels really indie. A lot of the time it feels like you’re pissing in the wind. It depends on your distribution as well — how your film is actually seen. The first American independent film I made — with David Siegel and Scott McGehee — interestingly enough, I remember after it was released someone came up to me and asked, “Is this the first Hollywood movie you’ve ever made?” And that was a credit-card funded movie — entirely independently put together. But the fact that it was picked up by Fox Searchlight and given a really nice release gave it a different kind of patina. So your independence is a color that can either be thrown out of you, or it can be thrown on you by a gel and a light. I talk to more and more actors who go into producing who seem to actually resent discussing that side of the job — as if it compromises the art. What’s your relationship with it? To be honest with you, that’s the territory of the bulk of the last 25 years of my life. I’ve spent much more time putting projects together with filmmakers than performing. Performing and actually shooting is just a thumbnail compared to the whole body of what production is. So no — I have no sense of resentment at all. In fact, I think that’s the science of it. Honestly, that’s the bit of it I’m particularly interested in. I’m more interested in it. A few weeks ago, I was at a guild screening of Kevin where you spoke about having finally made Julia, I Am Love and We Need to Talk About Kevin after collective years of struggle. And you compared that having a farm that you were watching grow for a while, and when you harvested it, that’d be it for a while. We’ve had the harvest. It’s grown! Now it’s time to maybe sow something else. But the field is fallow. It sounded like you were planning a break. How long a break are we talking about — if it happens? A break from what, is the question. I hope there will be a break from going out in public. [Laughs] And hopefully a break from talking for a while. But there are other seeds being planted now; it just depends how long they take to come up. They might take as little as two years, or they might take as much as 10. Don’t know. But people do — pardon the pun — need to talk about Kevin. There is lot to discuss here. It’s helpful if they see it first! But it’s all good. Starting at Cannes and moving forward to today, having heard the conversations about it yet being as close to it as you’ve been over the years, how has that chatter affected your own perception of the film — if at all? This is not a new conception, because it’s in many ways what we set out to do — it’s a relief that I notice this. But sometimes you have an intention — the best one in the world — but the film is a beast of its own, and it ends up doing something different. That’s not necessarily a bad thing; very often it can be better than you intended. But in this case, I really feel that the film is about and was intended to be about a person’s mind. That’s what it’s about — a human consciousness. It’s about memory, it’s about guilt, it’s about isolation and fantasy. It’s much more about that than it is about any of the events that we see or are referred to. It’s partly about the psyche she shares with Kevin, right? Who knows how much of it is what we call “true”? It could all really be a hallucination. The last few times I’ve seen it, I viewed it through that prism. That’s really useful — that’s a really good ride. I recommend that trip. If you go to the film expecting social commentary or expecting some kind of thriller that relies in a kind of reliable territory, then you might be disappointed. You might be unsatisfied. It’s not a conventional enough film to satisfy the tropes of a genre. It’s not a genre film at all. I think it’s truly radical in that sense. If you go expecting to do that “thing” — cinema being the great empathy machine that it is — to just go into somebody else shoes and wallow in their experience and limit yourself to that, to relax into that, then I think that’s the most valuable thing the film can offer. It’s also about the American psyche — something that you and Lynne had to approach as outsiders. How did that go? We had a discussion about that. When we were putting the film together, there was a moment when, money being what it is… Money tends to bring its own color with it sometimes, its national color or a kind of agenda, and there was a moment when — because the film is largely funded by British money — there was a question about whether it really need to be shot in America, or whether it even needed to be an American story. It was very quick business for us — the central core of Lynne, Rory and me — to know that it had to be. And that in itself begs the question of why? I’m not really clear on why, apart from the fact that — having said that it’s not social commentary — it is about a kind of atmosphere. And while the atmosphere it evokes isn’t exclusively about America — I mean, let’s face it: America is incredibly good at exporting its cultural atmosphere to most the rest of the world — there was something simpler about placing it where it was set in NY. It felt clean. And because we were dealing with sort-of clean elements, because our budget was what it was, and we had to pare it down into this Greek tragedy of a few protagonists and a chorus of kids outside a high school and no other society. You never go into the school. You never see any life with friends. You don’t get any back story of Franklin’s family or Eva’s family, which you do in the book. Because we were so pared down, we needed to be that straight-up.

Exactly what the New You are able to Film Critic Circle Honours Mean for that Academy awards

The NY Film Experts Circle passed out some honours on Tuesday. Well, not "passed out," by itself, (they'll do this in a ceremony the coming year), however they did announce the those who win. Exactly what does all of this mean? Are present day those who win truly the odds-on faves for Oscar glory? When the recent trends from the correlation between NYFCC those who win and Academy Award those who win really are a barometer, the response to that real question is, "It is dependent around the category." Overall, using the eight corresponding groups between your two organizations going back 5 years, the likelihood of among the those who win taking home an Oscar are 48 percent. Pretty good! But, as mentioned, the course has become a key. Place it by doing this: Kaira Pitt and Jessica Chastain ... better start practicing your acceptance speeches! During the last 5 years, the champion for the best Actor and finest Supporting Actress has won 4 out of 5 occasions. On the other hand of the tragic gold coin: Meryl Streep, Aaron Sorkin and Steven Zaillian (the second two co-authored the script for 'Moneyball') might not wish to clean off a brand new just right their mantels quite yet. Within the last 5 years, only Helen Mirren, in 2006, continued to win the Academy Award for the best Actress. And, remarkably -- thinking about you will find two chances here -- the NYFCC Best Script champion only taken the Oscar for either Best Modified Script or Best Original Script once -- 'No Country For Old Men' acquired a Best Modified Script Oscar in 2007. The outcomes in the last 5 years of NYFCC those who win and Oscars those who win are below (Those who win of both of them are in bold). (Overlooked would be best Animated Film, Best Foreign Film and finest Documentary. There is no champion introduced with this year's Best Animated Film. The entire year of qualifications for the best Foreign Film does not always correlate. The NYFCC didn't hands out a Best Documentary award each year within the last 5 years.) Best Picture 2011 NYFCC: 'The Artist' 2010 NYFCC: 'The Social Network' Oscars: 'The King's Speech' 2009 NYFCC: 'The Hurt Locker' Oscars: 'The Hurt Locker' 2008 NYFCC: 'Milk' Oscars: 'Slumdog Millionaire' 2007 NYFCC: 'No Country For Old Men' Oscars: 'No Country For Old Men' 2006 NYFCC: 'United 93' Oscars: 'The Departed' Best Director 2011 NYFCC: Michael Hazanavicius 2010 NYFCC: David Fincher, 'The Social Network' Oscars: Tom Hooper, 'The King's Speech' 2009 NYFCC: Kathryn Bigelow, 'The Hurt Locker' Oscars: Kathryn Bigelow, 'The Hurt Locker' 2008 NYFCC: Mike Leigh, 'Happy Go Lucky' Oscars: Danny Boyle, 'Slumdog Millionaire' 2007 NYFCC: Joel and Ethan Coen, 'No Country for Old Men' Oscars: Joel and Ethan Coen, 'No Country for Old Men' 2006 NYFCC: Martin Scorsese, 'The Departed' Oscars: Martin Scorsese, 'The Departed' Best Script 2011 NYFCC: Aaron Sorkin and Steve Zaillian, 'Moneyball' 2010 NYFCC: Lisa Cholodenko and Stuart Blumberg, 'The Children Are All Right' Oscars: David Seidler, 'The King's Speech' / Aaron Sorkin, 'The Social Network' 2009 NYFCC: Jesse Remedy & Simon Blackwell & Armando Iannucci, Tony Roche, 'In the Loop' Oscars: Mark Boal, 'The Hurt Locker' / Geoffrey Fletcher, 'Precious' 2008 NYFCC: Jenny Lumet, 'Rachel Getting Married' Oscars: Dustin Lance Black, 'Milk' / Simon Beaufoy, 'Slumdog Millionaire' 2007 NYFCC: Joel and Ethan Coen, 'No Country For Old Men' Oscars: Diablo Cody, 'Juno' / Joel and Ethan Coen, 'No Country For Old Men' 2006 NYFCC: Peter Morgan, 'The Queen' Oscars: Michael Arndt, 'Little Miss Sunshine' / William Monahan, 'The Departed' Best Actress 2011 NYFCC: Meryl Streep, 'The Iron Lady' 2010 NYFCC: Annette Bening, 'The Children Are All Right' Oscars: Natalie Portman, 'Black Swan' 2009 NYFCC: Meryl Streep, 'Julie & Julia' Oscars: Sandra Bullock, 'The Blind Side' 2008 NYFCC: Sally Hawkins, 'Happy Go Lucky' Oscars: Kate Winslet, 'The Reader' 2007 NYFCC: Julie Christie, 'Away From Her' Oscars: Marion Cotillard, 'La Vie En Rose' 2006 NYFCC: Helen Mirren, 'The Queen' Oscars: Helen Mirren, 'The Queen' Best Actor 2011 NYFCC: Kaira Pitt, 'Moneyball'/'The Tree of Life' 2010 NYFCC: Colin Firth, 'The King's Speech' Oscars: Colin Firth, 'The King's Speech' 2009 NYFCC: George Clooney, 'Up within the Air' Oscars: Shaun Bridges, 'True Grit' 2008 NYFCC: Sean Penn, 'Milk' Oscars: Sean Penn, 'Milk' 2007 NYFCC: Daniel Day-Lewis, 'There Is Going To Be Blood' Oscars: Daniel Day-Lewis, 'There Is Going To Be Blood' 2006 NYFCC: Forest Whitaker, 'The Last King of Scotland' Oscars: Forest Whitaker, 'The Last King of Scotland' Best Supporting Actress 2011 NYFCC: Jessica Chastain, 'The Tree of Life'/'Take Shelter'/'The Help' 2010 NYFCC: Melissa Leo, 'The Fighter' Oscars: Melissa Leo, 'The Fighter' 2009 NYFCC: Mo'Nique, 'Precious' Oscars: Mo'Nique, 'Precious' 2008 NYFCC: Penelope Cruz, 'Vicky Cristina Barcelona' Oscars: Penelope Cruz, 'Vicky Cristina Barcelona' 2007 NYFCC: Amy Ryan, 'Gone Baby Gone' Oscars: Tilda Swinton, 'Michael Clayton' 2006 NYFCC: Jennifer Hudson, 'Dreamgirls' Oscars: Jennifer Hudson, 'Dreamgirls' Best Supporting Actor 2011 NYFCC:Albert Brooks, 'Drive' 2010 NYFCC: Mark Ruffalo, 'The Children Are All Right' Oscars: Christian Bale, 'The Fighter' 2009 NYFCC: Christoph Waltz, 'Inglourious Basterds' Oscars: Christoph Waltz, 'Inglourious Basterds' 2008 NYFCC: Josh Brolin, 'Milk' Oscars: Heath Ledger, 'The Dark Knight' 2007 NYFCC: Javier Bardem, 'No Country for Old Men' Oscars: Javier Bardem, 'No Country for Old Men' 2006 NYFCC: Jackie Earle Haley, 'Little Children' Oscars: Alan Arkin, 'Little Miss Sunshine' Cinematography 2011 NYFCC: 'The Tree of Life' 2010 NYFCC: 'Black Swan' Oscars: 'Inception' 2009 NYFCC: 'The Whitened Ribbon' Oscars: 'Avatar' 2008 NYFCC: 'Slumdog Millionaire' Oscars: 'Slumdog Millionaire' 2007 NYFCC: 'There Is Going To Be Blood' Oscars: 'There Is Going To Be Blood' 2006 NYFCC: 'Pan's Labyrinth' Oscars: 'Pan's Labyrinth' [Photo: The new sony] You are able to contact Mike Ryan on Twitter Follow Moviefone on Twitter Like Moviefone on Facebook

'I'd Receive' wins Huelva

HUELVA, The country-- Beto Brant and Renato Ciasca's steamy melodrama, "I'd Get the Worst News Out Of Your Beautiful Lips," won the very best Golden Colombus Saturday at Andalusia's 37th Huelva Ibero-American Festival. The plaudit, along with a cinematography jerk for Lula Araujo, function as artistic vindication for just one of Brazil's first recent new wave company directors to draw in worldwide attention with stylish thrillers for example 1997's "Belly Up" and "Friendly Fire" annually later. Among the greatest local preems at October's Rio Festival, "I'd Receive" won Camila Pitanga best actress but demonstrated a speaking point more because of its energetic sex moments than artistic achievement.Huelva's Special Jury Prize visited Argentina's "The Kitty Vanishes," a mental thriller turning around marital mistrust that marks a big change of direction because of its director Carlos Sorin.Otherwise, major kudos visited company directors that, though not always much more youthful than Brant, have damaged through abroad within the last 10 years. The greatest champion along with a buzzed up title at Huelva was Andres Wood ("Machuca") whose Chilean Oscar entry, "Violeta Visited Paradise," scooped direction and, predictably, actress (Francisca Gavilan), because of its portrait of singer-songwriter Violeta Parra. Osmar Nunez nabbed actor for his perf as Argentine ruler Juan Peron in Paula p Luque's "Juan and Avoi."Script visited Colombian director Carlos Moreno and the regular writing partner Alonso Torres for Sundance player "All Of Your Dead Ones," a blackly comic vision of local authority and media management of Colombia's mass killings.Popular at March's Guadalajara Fest, Mexican first-timer Patricia Martinez p Velasco's family comedy "Between Us" re-confirmed its crowd-pleasing potential winning Huelva's audience award.Fest went November.19-26. Contact the range newsroom at news@variety.com

AP: National basketball association And Gamers Achieve Tentative Deal

The Television sports industry is going to be relieved that, around 12:30 AM today,TheAP is estimating National basketball association Commissioner David Stern as saying, “We’re positive which will all happen which the National basketball association season will start December 25th. He confirmedthe two sidesreached a “tentative understanding that's susceptible to a number of home loan approvals and incredibly complex machinations”. Already, the league had cut 10 games in the normal season inside a modified schedule which may mean a large hit on ad revenue for ABC/ESPN, TNT/Turner and regional sports systems that hold lucrative TV privileges to games. The tentative finish towards the 148-day lockout was arrived at following a secret meeting the 2009 week once the sides met in excess of 15 hrs Friday, working to try and save the growing season. This handshake deal must still be ratified by both proprietors and gamers.A big part on both sides is required. The National basketball association needs votes from 15 of 29 proprietors. (The league is the owner of the brand new Orleans Hornets.) The union requires a simple most of its 430-plus people. Underneath the deal, a 66-game season would begin on Christmas. Stern had stated the league needs about thirty days from a contract to when games might be performed, which deadline produced a feeling of emergency. Prior to this, the NBAs locked-out gamers had declined the leagues latest offer for any new collective negotiating agreement today, with union executive director Billy Hunter calling the suggested deal very unfair. He stated the gamers association was beginning the entire process of disbanding the union the initial step in filing an antitrust action from the league and delivering the entire mess towards the courts. It is the same tactic the NFLs gamers used throughout their lockout within the summer time, but this time around the move would endanger the whole National basketball association season. Commissioner David Stern had known as the most recent labor provide the leagues best, suggesting a 50-50 split in revenue between gamers and proprietors. He stated the following offer up for grabs is going to be a smaller amount favorable: a 53-47 split in support of the league.

CNN's Republican Debate Lures 3.6 Million Viewers

CNN's most recent Republican presidential debate ranked as the top telecast among the cable news networks on Tuesday evening from 8-10 p.m.our editor recommendsCNN's Republican Debate Draws 5.5 Million ViewersCNBC's Republican Presidential Debate Draws 3.3 MillionCNN Tops Cable News Competition with Republican Debate Moderated by Wolf Blitzer, the national security debate held in Washington D.C. lured 3.6 million total viewers and 1.04 million in the key adults 25-54 demographic. The debate, which took place from 8-9:59 p.m., didn't draw as many eyeballs to its October event held in Las Vegas which attracted nearly 2 million more viewers to grab 5.5 million. Fox News' September debate still stands as the season's most-watched with 6.1 million. PHOTOS: Democrats, Republicans' Favorite Movies In the 25-54 demo, however, last night's showing outrated three previous debates, including CNBC's Nov. 9 discussion (993,000) and Fox News Channel's May 5 talker (854,000). The debate boosted Anderson Cooper's primetime news show Anderson Cooper 360 at 10 p.m. The program ranked No. 1 in its time slot with an average of 1.43 million viewers. PHOTOS: Best Presidents in Movies and TV Time slot competitors Fox News Channel's On the Record With Greta Van Susteren drew 1.3 miillion viewers and 365,000 in the demo, while MSNBC followed with 723,000 and 209,000, respectively, tuning into The Last Word With Lawrence O'Donnell. PHOTO GALLERY: View Gallery 10 Entertainers Democrats and Republicans Love to Hate Related Topics Wolf Blitzer TV Ratings CNN Anderson Cooper

Casting Standout: 'The Ides of March'

Casting Standout: 'The Ides of March' By Daniel Holloway November 22, 2011 Photo by Columbia Pictures Ellen Chenoweth's first feature film just like a casting director was "Diner," a classic ensemble picture of the era, getting a cast that incorporated Kevin Sausage, Mickey Rourke, Ellen Barkin, and Paul Reiser, all at or near to the start of the careers. Ever since then, Chenoweth has cast most likely probably the most acclaimed films in the last 3 decades, from "Six Amounts of Separation" to "No Country for Old Males." So how can her newestInchThe Ides of March," a George Clooneydirected political drama modified from Love Willimon's stage play "Farragut North"stack facing its forebears? "It's like asking the way in which your kids compare,Inch Chenoweth states. "I'm certainly really pleased with that certain. In my opinion it is, really solid. I didn't cringe whatsoever once i first seen it, so this is an excellent sign." How often does she cringe should you watch her films? "I am in a position to rip myself to shreds, particularly the first time I see something," she states. "It always takes me three viewings to kind of calm lower. However really didn't undergo that agony on that certain."Chenoweth didn't will need to go through much agony in casting the project, either. In those days Chenoweth came aboard, Ryan Gosling was stored in since the lead, Stephen Meyers, a political staffer to have an idealistic presidential candidate carried out by Clooney. Some supporting partsMarisa Tomei just like a driven political reporter, Evan Rachel Wood just like a naive internwere also already cast. But there's still plenty of attempt to do for Chenoweth, who labored with Clooney on his three previous directorial efforts and aided bring Philip Seymour Hoffman, Paul Giamatti, and Jeffrey Wright aboard with that one. "One of the excellent accomplishments was that merely because [Clooney has] been transporting this out for a while and acting in many things inside the years, they are fully aware lots of stars," Chenoweth states. "Making this a genuine kind of resource. In the event you say, 'Oh, that guy who was simply on some Tv program,A chances are he's seen it and many likely labored with this particular person. It simply makes my job a good deal simpler. Also, he's a great eye for talent and knows what he wants. I have found the most difficult factor comes about when a director doesn't know very well what he wants. But he's doing, so you have got to pay attention to it and help him believe it is.InchAmongst the roles Chenoweth labored the most difficult to cast was Ben Harpen, a young staffer who challenges Meyers. The role visited Max Minghella, while not before plenty of research happen to be done. "It really increased to become ingredient that the youthful males wanted," she states. "We'd people delivering us tapes from Australia, England. Despite the fact that we didn't cast them, we certainly saw plenty of interesting youthful males."Chenoweth also cast several supporting roles using local stars in Michigan, where many of the film's principal photography was shot. Because of a great budget together with an active travel schedule, she examined prerecorded auditions from Michigan stars remotely in NY, then passed the most effective onto Clooney and producerco-author Grant Heslov in La. Chenoweth credits Michigan's film and tv production tax credit program with helping produce a wealthy community of stars that they could draw. "We certainly had numerous nice supporting roles leave Michigan," she states. "In my opinion because of all the production there, I believe people have moved back there from L.A. because of there as being a lot work there. I'd done [Clint Eastwood's] 'Gran Torino' a few years back, which was one of the primary things there following a large incentive began in. In my opinion ever since then the talent pool has truly enhanced a good deal. It's beefed up."With "The Ides of March," Chenoweth has beefed up her rsumnot it needed it.Casting Director: Ellen ChenowethDirector: George ClooneyWriters: George Clooney and Grant Heslov and Love Willimon, good play "Farragut North" by WillimonStarring: Ryan Gosling, George Clooney, Paul Giamatti, Philip Seymour Hoffman, Evan Rachel Wood, Marisa Tomei, Jeffrey WrightThe Pitch: A young hotshot political staffer (Gosling) can get entangled inside the backroom dealing from the high-stakes presidential campaign.To determine Back Stage's complete coverage of Honours Season, please get our FREE SAG Nomination Committee Guide. Or follow our daily coverage with Back Stage's new online Honours Season section. Casting Standout: 'The Ides of March' By Daniel Holloway November 22, 2011 PHOTO CREDIT Columbia Pictures Ellen Chenoweth's first feature film just like a casting director was "Diner," a classic ensemble picture of the era, getting a cast that incorporated Kevin Sausage, Mickey Rourke, Ellen Barkin, and Paul Reiser, all at or near to the start of the careers. Ever since then, Chenoweth has cast most likely probably the most acclaimed films in the last 3 decades, from "Six Amounts of Separation" to "No Country for Old Males." Precisely how does her newestInchThe Ides of March," a George Clooneydirected political drama modified from Love Willimon's stage play "Farragut North"stack facing its forebears? "It's like asking the way in which your kids compare,Inch Chenoweth states. "I'm certainly really pleased with that certain. I believe that it is, really solid. I didn't cringe whatsoever once i first seen it, so this is an excellent sign." How often does she cringe should you watch her films? "I am in a position to rip myself to shreds, particularly the first time something," she states. "It always takes me three viewings to kind of calm lower. However really didn't undergo that agony on that certain."Chenoweth didn't will need to go through much agony in casting the project, either. In those days Chenoweth came aboard, Ryan Gosling was stored in since the lead, Stephen Meyers, a political staffer with an idealistic presidential candidate carried out by Clooney. Some supporting partsMarisa Tomei just like a driven political reporter, Evan Rachel Wood just like a naive internwere also already cast. But there's still plenty of attempt to do for Chenoweth, who labored with Clooney on his three previous directorial efforts and aided bring Philip Seymour Hoffman, Paul Giamatti, and Jeffrey Wright aboard for your one. "One of the excellent accomplishments was that merely because [Clooney has] been transporting this out for a while and acting in many things over time, they are fully aware lots of stars," Chenoweth states. "Making this a genuine kind of resource. In the event you say, 'Oh, that guy who was simply on some Tv program,A chances are he's seen it and many likely labored with this particular person. It really makes my job a good deal simpler. Also, he's a great eye for talent and knows what he wants. I have found the most difficult factor comes about when a director doesn't know very well what he wants. But he's doing, so you need to simply concentrate on it and help him believe it is.InchAmongst the roles Chenoweth labored the most difficult to cast was Ben Harpen, a young staffer who challenges Meyers. The role visited Max Minghella, while not before plenty of research happen to be done. "It really increased to become ingredient that the youthful males wanted," she states. "We'd people delivering us tapes from Australia, England. Even though we didn't cast them, we certainly saw plenty of interesting youthful males."Chenoweth also cast several supporting roles using local stars in Michigan, where many of the film's principal photography was shot. Because of a great budget together with an active travel schedule, she examined prerecorded auditions from Michigan stars remotely in NY, then passed the most effective onto Clooney and producerco-author Grant Heslov in La. Chenoweth credits Michigan's film and tv production tax credit program with helping produce a wealthy community of stars that they could draw. "We certainly had numerous nice supporting roles leave Michigan," she states. "In my opinion because of all the production there, I believe people have moved back there from L.A. because of there as being a lot work there. I'd done [Clint Eastwood's] 'Gran Torino' a few years back, which was one of the primary things next the big incentive began in. In my opinion ever since then the talent pool has truly enhanced a good deal. It's beefed up."With "The Ides of March," Chenoweth has beefed up her rsumnot it needed it.Casting Director: Ellen ChenowethDirector: George Clooney Authors: George Clooney and Grant Heslov and Love Willimon, good play "Farragut North" by WillimonStarring: Ryan Gosling, George Clooney, Paul Giamatti, Philip Seymour Hoffman, Evan Rachel Wood, Marisa Tomei, Jeffrey WrightThe Pitch: A young hotshot political staffer (Gosling) can get entangled inside the backroom dealing from the high-stakes presidential campaign.To determine Back Stage's complete coverage of Honours Season, please get our FREE SAG Nomination Committee Guide. Or follow our daily coverage with Back Stage's new online Honours Season section.

Kora (Zhuan shan)

A Taihe Universal Film Investment Co., Millimetre Film Co., Tibet Tourism Co., Atom Cinema Co production in colaboration with China Film Group. (Worldwide sales: Taihe Universal Film Investment, Beijing.) Created by Qian Shimu, Tao Kun, Nina Han. Executive producer, Chen Kuofu. Directed by Du Jiayi. Script, Chang Chi Alu, Cheng Hsiao-che, in line with the book "Zhuan shan" by Xie Wanglin.With: Chang Shu-hao, Li Xiao Chuan, Li Tao (Mandarin, Tibetan dialogue)Mountaintop scenery supplies a pleasing backdrop for "Kora," a transparent propaganda piece embedded inside the story of the youthful man's cycling trip from Taiwan to Tibet. This largely China-bankrolled adaptation of the Taiwanese novel is available largely to celebrate the benefits of the nation that lies between its beginning point and destination, even though the thin story pretty much works significantly, it's overshadowed through the extreme-travel sales brochure imagery and political agenda. Pic opened up in China on November. 3 to flat B.O. Unskilled cyclist Shu-hao (Chang Shu-hao) has made the decision to bike from Taiwan to Lhasa, Tibet, like a tribute to his elder brother, who died attempting to perform the same factor. By having an invaluable assist from lenser Du Jie ("Crazy Stone"), helmer Du Jiayi nicely captures the breathtaking terrain, however the figures always remain mechanical. Li Xiao Chuan's lively extended cameo as the second cyclist radiates the type of souped up that genteel Taiwanese thesp Chang lacks because the primary character. Score by Japanese composer Michiru Oshima is properly rousing. "Kora" is really a Himalayan word, with sacred associations, which means "to visit around."Camera (color, widescreen, HD), Du Jie editor, Xiao Yang music, Michiru Oshima production designer, Wang Yi. Examined at Tokyo, japan Film Festival (competing), March. 27, 2011. Running time: 90 MIN. Contact the range newsroom at news@variety.com

'Breaking Dawn' tracks a shade off 'New Moon'

Summit's 'Breaking Dawn -- Part 1' is on track to gross $135 million to $145 million.At estimates of $135 million to $145 million for the weekend, Summit's "The Twilight Saga: Breaking Dawn -- Part 1" could potentially eclipse the "Twilight" franchise's previous best three-day opening, "New Moon," which bowed to $142.8 million.Box office watchers expect the pic's Friday gross, including $30.3 million from midnight screenings, to reach the $70 million range.As of midday Friday, "Breaking Dawn" was tracking slightly below "New Moon," which tallied $26.3 in midnight grosses in November 2009. But the penultimate "Twilight" pic may gain some steam, depending on the film's repeat viewings by teen and tween auds opening weekend, bizzers say.Warner Bros.' "Happy Feet Two," meanwhile, may earn more modest grosses than tracking had indicated. B.O. observers say the pic is likely to cume around $6 million-$7 million on Friday and up to $22 million for the weekend.Fox Searchlight's "The Descendants," meanwhile, is expanding to 29 locations domestically and will likely earn close to $1 million during the three-day frame.Relativity's "Immortals" doesn't seem to have a strong hold. Observers say the swords-and-sandals film looks to be down 60% to 65% as of Friday afternoon, putting it at $13 million this frame.Other holdovers include Par/DreamWorks' "Puss in Boots" and Sony's "Jack and Jill." Box office estimates have both pics earning $13 million to $14 million and around $11 million for the weekend, respectively. Contact Andrew Stewart at andrew.stewart@variety.com

Protestors march on Wall Street

100s of Occupy Wall Street protestors clogged the roads of lower Manhattan Thursday morning around the second-month anniversary from the movement. Rousted using their temporary home in Zuccotti Park the 2009 week by riot police submitted by Mayor Michael Bloomberg, the audience cool nearby. It marched toward Wall Street today using its message of earnings inequality, obstructing entrances from the NY Stock Market and wishing, although not succeeding, in interfering with the ringing from the opening bell. Cordons setup round the New york stock exchange and roadblocks through the area stored the audience somewhat under control, however they filled the roads, obstructing traffic, marching and chanting inside a "Day's Action" marking two-several weeks of protest. Police, in pressure, make numerous busts and some confrontation is anticipated to carry on during the day. The audience decided to occupy subway stations in each one of the five boroughs, then place their message to Foley Square, outdoors NY's courthouses. "All day long, all week shut lower Wall Street," protestors chanted. "We're the 99%." Now sometimes appears an important one for that movement after police removed tents and all sorts of personal products from Zuccotti Park which had managed to get feasible for protestors to camping overnight, and be a fixture in the region. They now must find alternate accommodations and reconvene every day. Contact the range newsroom at news@variety.com

Ratings: Guy Up! Stays Lower

Guy Up Guy Up! ongoing to become virtually despite its series-low amounts from the other day, reaching 6.27 million audiences and 1.7 rating among industry-valued 18-to-49-year-olds, and Tim Allen's Last Guy Standing, which precedes it at 8/7c, declined from yesterday, getting in 8.97 million people (2.6 demo rating), according to Nielsen overnights. It is therefore to not get simpler of those males - plus it seems like Allen will indeed function as last guy standing from this time around around slot. Very good news for your CW though: 90210 snagged a season high, and Ringer had its finest viewership since the finish of September. Photo timeline: The emasculation of males on tv 8 p.m. CBS: NCIS 19.94 million audiences (4. demo rating) ABC: Last Guy Standing (8.97 million/2.6) Guy Up! 6.27 million (1.7) Fox: Glee 7.09 million (2.9) NBC: The Finest Loser 6.25 million (2.) CW: 90210 1.64 million (.7) Read our Glee recap 9 p.m. CBS: NCIS: La 15.02 million (3.3 demo rating) ABC: Dwts 14.96 million (2.7) Fox: New Girl 6.91 million (3.50) Raising Hope 4.83 million (2.2) NBC: Loser 6.15 million (2.1) CW: Ringer 1.85 million (.7) Read our Dwts recap 10 p.m. CBS: Memorable 11.19 million audiences (2.4 demo rating) ABC: Body of Proof 9.84 million (2.1) NBC: Motherhood 4.96 million (1.9)

How Rules of Engagement Manages to Survive as TV's Stealth Hit

Rules of Engagement In TV, there are hits and misses - and then there's Rules of Engagement. The CBS comedy, which recently launched its sixth season, joins a long line of series (Becker, Just Shoot Me, According to Jim) that cheated death for years despite operating below everyone's radar.Rules has been a solid performer for CBS, but it wasn't until last year, the show's fifth, that it aired for a full season. "It's been a bumpy road from the beginning," says star Patrick Warburton. "[We've] never been the flavor of the month. It's tough when friends and family call and ask when your show's on, and I have to tell them, 'I'll let you know when I find out.'" Adds Sony TV's Kim Rozenfeld: "It's a testament to the strength of the show that it can take that kind of beating."In some ways, Rules has been a victim of its own mild success and CBS' limited comedy shelf space. The show was a solid midseason entry for CBS in 2007, but lost its momentum the following year when the Writers' Guild strike cut its episodic order. The year after that, Rules narrowly escaped cancellation, pulling off a 13-episode order.But once CBS realized that Rules was a self- starter that could pop up almost anywhere and attract a solid audience, it became a useful backup - and kept defying the odds, entering CBS' May schedule announcement on the bubble yet always managing a return engagement. "As a network there's nothing better than knowing you have a go-to player that you can call on at any time," says CBS scheduling chief Kelly Kahl. "It's an incredible luxury and a testament to the show."That means Rules is too valuable to cancel, but not valuable enough to earn a regular time slot. "They know Rules is not a big hit, they've made sure of that," says exec producer Tom Hertz. "Imagine if we were on consistently." Unlike CBS' other signature comedies, Rules has never stayed in one place for long - and as a result, doesn't have a permanent address that might otherwise stick in viewers' minds. (Adding to the confusion: CBS TV Studios co-produces Rules with Sony TV and in success, stands to gain from the show's potentially lucrative backend.)Says Warburton: " You wonder what the general perception is of your show. We've got fans that love the show to death and show up every week, and that's why we get the consistent numbers we get. Our ratings aren't through the roof but at the same time, we perform better than any other show that has been in our spot. And that's without a lot of support."That's a common refrain for the producers, stars and studio behind Rules. This year, the show was originally slated on Saturdays. "My first response was to laugh," Hertz says. "We were assuming we'd be on 8:30 Thursdays, because we did nicely last year. We even shot 26 episodes last year, in case there were more Two and a Half Men problems. In a perfect world you would get rewarded for this. But you don't. It's show business, not show friends. They'd rather push aside a solid show in a quest to get a massive hit, which they need."This year, CBS needed that Thursday timeslot to try out a new show - How to Be a Gentleman. (The year before, the network used that same plum post-Big Bang Theory slot to launch the doomed $#*! My Dad Says.) At the same time, Rules had at least earned enough goodwill to finally score a berth on the fall schedule.But with no other available time slots, the network decided to experiment with comedy in the Saturday 8 p.m. hour (where it had been running drama repeats in recent years). "It's a gut punch every time something bad happens," Hertz says. "It was less so for me with Saturday night because it was at least in the fall and it was a full season and I knew we were in the wings for something else."Warburton was also not pleased with the Saturday downgrade - where his show was going to be surrounded by comedy and drama repeats - and wasn't shy about it. "What a sh-- time slot," Warburton told TV Guide Magazine in September. "The scripts are great and we're having a lot of fun doing the show, but God knows if anybody's gonna find us on Saturday night." Warburton still stands behind the comments, which he made on the red carpet at Comedy Central's Roast of Charlie Sheen.Afterward, Warburton says "[CBS] didn't call me personally, but I did get a call from my publicist, and she was laughing. Saturday night is not a good place to be, that's not a secret. I wasn't pleased."Warburton's and the show's luck eventually turned around, but at the expense of yet another failed sitcom. Rules' debut was first moved back a week after How to Be a Gentleman failed to impress in its open. After a subsequent Gentleman episode also fizzled, Rules was slid into that 8:30 p.m. Thursday slot, where it's now averaging more than 11 million viewers."I'malways happy to be there to take over when something stumbles," Hertz quips. "As I see it, my show's success and solid ratings allow CBS to trot out failure after failure in a quest to find a show that's better than mine."Rozenfeld says he usually manages to soothe Hertz's nerves by mentioning the show's impending syndication sales. "Look at Rules' retention of Big Bang viewers. Tom and company develop and produce a show that's simply entertaining. It's meat and potatoes and doesn't have any pretense. It knows what it is."Hertz concurs that he's grateful that Rules will now reach enough episodes for syndication. And Warburton says he's happy with the show's creative direction. "This is the first year where it seems like things are going well for us," the actor says. "The first nine shows we've shot I've been proud of."In the ultimate adage that it's not personal, Hertz is even developing a new family sitcom at CBS -although he admits to being worried that he may accidentally bump off Rules in the process. For now, the team behind Rules is enjoying the show's revitalized Thursday night performance, but they shouldn't get too comfy. CBS' new Rob Schneider comedy is waiting in the wings, and guess which half-hour show might have to make room for it. Sighs Warburton: "It will be us again. It is nerve-wracking."Subscribe to TV Guide Magazine now!

Social Energy Rankings: How Will You Go through the Duggars 20th Pregnancy?

Jim Bob Duggar and Michelle Duggar Last evening marked the summer season finale of TLC's 19 Kids And Counting, but that's not why the show has instantly skyrocketed to No. one out of our Social Energy Rankings. The Duggar folks are pregnant again... for your 20th time! And several individuals aren't whatsoever happy relating to this.InchDo not people know when you stop? Twenty kids is absurd. Many people were only fortunate with one." @Medicmimkb tweeted. "And additionally, beyond financial demands, a lady's uterus will simply work lots of occasions. Did they not learn before w/ Josie?" (Michelle Duggar, 45, experienced complications throughout her latest pregnancy, forcing the newborn being born # 3 . 5 several days premature.) Brittney Ann Riffle needed to Facebook to voice her opinion in regards to the news. "I don't understand how anybody know they 'respect' this. They've switched their family members in to a brand... absurd."Others defended the TLC clan. "I honestly don't think they are carrying this out for attention," mentioned TVGuide.com user roxy21698. They're only a few of the family with this particular many kids - just the only ones on tv.In . On Facebook, Lindsay Phillip Shaw written, "I am overjoyed for family! I'm not going that numerous, nevertheless it works well with them. Their kids are extremely intelligent, well-rounded and steadfast inside their belief. May God still bless them!"We feel they might just be most likely probably the most fertile couple in the united states. But whatrrrs your opinion - when the Duggars keep pumpin' out nuggets?Another hot subject now: Is House planning for just about any series finale?Return anytime to look for the newest Social Energy Rankings, which are up-to-date instantly with the week.

ABC, Country Music Association Extend Broadcast Deal Through 2021

NY - Walt Disney's ABC network and the Country Music Association have extended their broadcast agreement through 2021 under a new 10-year deal that will keep the CMA Awards, the CMA Festival: Country's Night to Rock and the CMA Country Christmas on ABC. Financial terms weren't disclosed. There was a three network bidding war for the country music shows, with CBS and NBC being in the mix in addition to ABC. The awards show in particular has been a key ratings driver for the Disney network, which won the show from CBS six years ago and drew more than 17 million viewers for last fall's edition. The new ABC arrangement was announced by ABC Entertainment Group president Paul Lee and CMA CEO Steve Moore. "We are thrilled that the CMA and country music will continue to call ABC their home for the next 10 years," said Lee. "We have built an incredible partnership together, and that partnership will only grow stronger over the next decade." Said Moore: "ABC has demonstrated a passion for the format and our television properties. We have seen the CMA Music Festival special grow to three hours, we have added a holiday special, CMA Country Christmas, and our crown jewel, the CMA Awards, has reached a new, enthusiastic audience." The 45th Annual CMA Awards, hosted by Brad Paisley and Carrie Underwood, will air live on ABC tonight. Founded in 1958, the Country Music Association was the first trade organization formed to promote a type of music. Email: Georg.Szalai@thr.com Twitter: @georgszalai Related Topics ABC NBC CBS

Luke Grimes joins 'Taken 2'

GrimesWith Liam Neeson, Maggie Sophistication and Famke Janssen returning for last century Fox and EuropaCorp's action follow-up "Taken 2," director Olivier Megaton has made a decision to incorporate a completely new face for the franchise, tapping "Brothers and sisters and Brothers and sisters" star Luke Grimes for just about any key role. First film found outdated CIA agent Bryan Mills (Neeson) heading overseas to be able to save his daughter (Sophistication) in the gang of callous European kidnappers. Inside the follow-up, the tables are switched, as Mills and also the ex-wife are held hostage with the father from the kidnapper Mills destroyed while saving his daughter. Croatian thesp Rade Serbedzija is positioned to see the vengeful villain, while Grimes has closed a deal to see Grace's love interest, who'll have in most probability to help her save her parents within the baddie's clutches. "Taken" scribes Luc Besson and Robert Mark Kamen composed the follow-up, which Besson will produce through his EuropaCorp banner. Original pic will be a surprise hit, grossing $226 million worldwide. "Taken 2" is skedded for release on March. 5. While Grimes made his feature debut in Jonathan Levine's 2006 slasher pic "All the Boys Love Mandy Lane," he's not allow that film's extended-postponed release affect his career, while he recently wrapped charge role alongside John Hawkes and Mary Steenburgen in Foreign exchange drama pilot "Outlaw Country." Thesp also starred alongside Ellen Barkin in Cam Archer's Cannes entry "Shit Year." Grimes is repped by CAA and manager Darren Goldberg. Contact Rob Sneider at rob.sneider@variety.com

Jennie Garth To Star In & Produce ABC Familys Comedy Pilot Village People

EXCLUSIVE: 90210 alumna Jennie Garth continues to be drawn on because the lead in ABC Family’s half-hour comedy pilot Village People, from creator Meg DeLoatch. The project focuses on Alexa (Garth), just one, high-powered career lady who switches into an infant from the teen mother — whom she eventually ends up taking care of too. Additionally to starring, Garth will even executive make the pilot alongside DeLoatch. Garth lately reprises her role as Kelly Taylor around the CW’s 90210 reboot. Around the comedy side, she starred around the WB series Things I Like In Regards To You.

Scribe drawn on for Lifetime's 'Tent' small

Meredith Scribe Anne Meredith has signed onto pen the script for "The Red-colored Tent," a miniseries in development at Lifetime.Project is eyed like a four-hour small according to Anita Diamant's 1997 novel occur scriptural occasions when women would gather in tents to aid each other on issues varying from motherhood to local occasions. The central character is Dinah, a lady who marries a prince and it has a receding together with her murderous brother."Tent" has been shepherded by Paula Weinstein, who'll professional produce with Jeffrey Levine (Daily Variety, March. 26). The project has yet to get a greenlight in the cabler.Meredith authored the approaching Lifetime telepic "Strategies of Eden," starring John Stamos and "Breaking Bad's" Anna Gunn. She also offers a number of feature scripts in development. Other past TV credits range from the Showtime made-fors "Bastard From Carolina" and "Ranked X."She's repped by Gersh and manager Margaret Reilly of Brillstein Entertainment Partners. Contact Cynthia Littleton at cynthia.littleton@variety.com

Eco-Pirate: The Story of Paul Watson

An eOne Films presentation, in association with Telefilm Canada, the Rogers Group of Funds, of a Screen Siren Pictures production, in association with Optic Nerve Films. Produced by Kevin Eastwood, Trish Dolman. Directed, written by Trish Dolman.With: Paul Watson, Patrick Moore, Martin Sheen, Alex Cornelissen, Emily Hunter, Peter Hammarstedt, Karen Sack, Rex Weyler, Paul Spong, Allison Lance, Lani Lum-Watson, Pablo Salas, Andrew Darby, Joji Morishita, Farley Mowat, Anthony Kiedis, Pete Bethune.Divisive animal-rights activist Paul Watson gets sympathetic treatment from Trish Dolman in "Eco-Pirate," though the helmer doesn't shy away from exposing the man's unpleasant sides. Result is a handsomely made, even exciting docu encompassing the subject's evolution from Greenpeace warrior to go-it-alone pirate, expert at manipulating the media and wooing celebs to the cause of whales, seals and dolphins. Dolman presents the polemics surrounding Watson's unconventional style, yet she's also an admirer whose film is certain to attract devotees to the cause. Once fest exposure has run its course, smallscreen play is assured. Watson's gonzo approach to environmentalism manifests itself in his much-publicized Sea Shepherd expeditions (the subject of Animal Planet's highly successful "Whale Wars" series), when he and his crew hunt for whaling vessels and ram them with their specially rigged prow, sporting steel projections he calls "the mother of all can openers." Such tactics earn him the ire of more staid animal-rights groups such as Greenpeace, but Watson's argument is that they merely protest, while he does what it takes to end unwanted actions. Such enmity springs not just from a difference in philosophy but also from decades of bad blood. Dolman traces the history of Greenpeace from its roots in the anti-Vietnam War counterculture movement of the early 1970s, when Watson was one of its founding members. Recklessness and a talent for self-promotion -- Watson is nothing if not a publicity hound -- led to an acrimonious parting of the ways, still shrouded in "he said, he said" accusations. (There appear to be few female leaders in either Greenpeace or Sea Shepherd, and certainly Watson's ways encourage acolytes more than they do partners, either for business or pleasure.) "Eco-Pirate" follows Watson's team to Antarctica in search of Japanese whaling vessels, providing a frame for Dolman to shuttle back and forth in time, touching on earlier incidents as well as her subject's problematic personal life; as with so many animal-rights activists,Watson's interpersonal relationships leave a lot to be desired. The docu makes terrific use of a wealth of archival footage and photos, and the scenes of Watson and crew chasing after the whalers are thrillingly lensed, accompanied by the Sea Shepherd's m.o. of blaring Wagner's "Ride of the Valkyries" as they give chase. Old footage of seals being clubbed is difficult to watch: Though these are the images that helped put Greenpeace on the map, their inclusion here is overly calculated to generate additional support for Watson's work. Closeups of Watson typing his books are an obvious re-enactment and feel awfully cheesy.Camera (color, HD), Todd Craddock, Ian Kerr, Kristian Olsen; editors, Brendan Woollard, Mike Jackson; music, Michael Brook; sound (Dolby Digital), Brent Calkin, Miguel Nunes. Reviewed at Abu Dhabi Film Festival (Our World), Oct. 21, 2011. (Also in Hot Docs, Reykjavik, Mill Valley film festivals.) Running time: 110 MIN. Contact the Variety newsroom at news@variety.com

Discovery greenlights 'Invented'

LONDON -- Discovery Systems Worldwide has greenlit exactly what it claims is its most ambitious and several pricey show so far. "The Way In Which We Invented the earth,In . being produced by shingle Nutopia, can be a 5-hour docu that aims to produce a completely new template for your cable web's "globalized" strategy. Show remains commissioned by Discovery's London-based mind of production Julian Bellamy and may deploy the thing that was known to as "film CGI" and "dramatization" to exhibit most likely probably the most legendary inventions in the present day. Subjects being covered include cell phones and black box flight recorders, plus such improbable future inventions as energy-saving transparent plants and guns that only fire once the person together have observed their fingerprints checked. "The Way In Which We Invented the planetInch will probably be personalized for four worldwide regions with local tales and experts. Due to bow on DNI inside the partner of 2012, Bellamy mentioned the series was "epic in scale, idea and budget, while at the same time retaining local flavor." Bellamy added: "It's a good way to kick-start our drive into more original productions that are worldwide ideas that feed Discovery Channel's global footprint."The executive producers are Sarah Davies for DNI and Christine Weber for Discovery Funnel U.S.Nutopia, run by former Discovery topper Jane Root, made the Emmy-top ranked "America: The Story peopleInch for History. Contact the number newsroom at news@variety.com

Asmaa

$ 1 Film presentation of the New Century, Film Clinic production. (Worldwide sales: Pacha Pictures, Paris.) Created by Mohamed Hefzy. Directed, compiled by Amr Salama.With: Hend Sabry, Maged El Kedwany, Hany Adel, Ahmed Kamal, Sayed Ragab, Botros Ghali, Fatma Adel.Though Helps may appear old-hat with a, it is good to don't forget that it remains a hot-button subject, and not simply among so-known as third world countries. Amr Salama's sophomore feature, "Asmaa," is pitched like a brave story for that Arab world, but no such reductionism is needed with this fact-based tale of the Aids-positive lady who went public using the disease on the chatshow. Salama has created a solid problem pic, featuring strong perfs along with a superbly emotional finale, that ought to do robust biz both at home and may need current curiosity about Egypt abroad. Greater than a film in regards to a disease, "Asmaa" is really a demand empowerment that ultimately works being an accessible pic for general auds instead of jaded fest types. As a result, it isn't above using fancy mix-cutting and a little of melodramatic frippery to deepen the protag's character and highlight her emotional trajectory, although it creates real energy in moments marked with a rawer clearness. An immediate succession of edits creates a feeling of emergency within the existence of Asmaa (Hend Sabry), a 45-year-old widow coping with father Hosni (Sayed Ragab) and teen daughter Habiba (Fatma Adel). While being wheeled set for gall bladder surgery, she's counseled to help keep mother about some good info, but in the last second she discloses she's Aids-positive, and doctors won't operate. Throughout a support-group meeting, she's contacted with a TV producer who informs her that showing up on the talkshow guarantees national attention and also the sympathy of ethical doctors prepared to perform the easy yet critical procedure. However the host, Mohsen (Maged El Kedwany), does not want another anonymous presence and demands she reveal her face. This becomes Asmaa's real struggle: Go public, despite the fact that Habiba does not know, or remain fearful and at risk of dying from the curable condition which has nothing related to Helps. One factor is for certain: She will not reveal how she contracted herpes. In the beginning, Asmaa is uncertain and timid, scraping together a full time income being an airport terminal janitor and focusing way too much energy on keeping things hidden (she's asymptomatic). It had not been always such as this: In flashbacks to her native village, she's open and independent, winning the admiration of Mosaad (Hany Adel). They are married, but her strong-willed character causes friction within their conservative town, as well as an ensuing tragedy drives her to Cairo, where she's going to keep her scarf-covered mind lower. Helmer Salama (whose playfully ironic segment "The Politician" is really a memorable area of the Venice-preemed docu "Tahrir 2011") moves backwards and forwards over time to complete Asmaa's character and background, underscoring the way in which lack of knowledge breeds fear. Moments within the village have an amount of soapy artificiality that could not interact with Western audiences, however the realism from the present-day packs a difficult punch for those, because of the inevitable swell of support for any pleasant character standing for herself the lady the pic is dependant on wasn't so lucky. "Asmaa" is really a gift for star Sabry, who fully inhabits the contradictions of the lady whose path from passionate and independent youthful bride to tense, cowed widow is marked by satisfying moments of fire. She's also given an opportunity to prove her perfect comic timing, revealing a side all-too-rarely used recently outdoors TV. El Kedwany ("Cairo 678") again proves he's a talent almost from another time, when character stars exuded complexity making devoted auds smile with each screen appearance. Toward the emotional buildup towards the will-she-or-will not-she climax, the editing has difficulty choosing the best rhythm, undercutting the strain with a lot of moments in the past until, just when things appear too extended, Salama finds the best balance and rides it for any superbly affecting payback. Color tones are carefully adjusted to differentiate between time frames, having a golden light suffusing village moments contrasting by having an icier blue in Cairo. Salama acquired the Abu Dhabi fest's Arab helmer award, while El Kedwany required home the actor prize.Camera (color, 16mm-to-35mm), Ahmad Gabr editor, Amr Salah production designer, Hend Haider costume designer, Monia Fath El Bab seem (Dolby Digital), Ahmad Adnan, Gomaa Abdel-Latif line producer, Ahmed Badawy connect producer, Bushra Rozza. Examined at Abu Dhabi Film Festival (competing), March. 17, 2011. (Also working in london Film Festival -- World Cinema.) Running time: 96 MIN. Contact the range newsroom at news@variety.com

Melanie Griffith in Talks to Star in Lifetime Pilot, 'American Housewife'

Lifetime is continuing its push into noisy programming with bold-faced talent.our editor recommends'Puss in Boots' Premiere Red Carpet ArrivalsAntonio Banderas and Melanie Griffith Holding Obama Fundraiser at Their Home The female-skewing cable network has ordered a pilot for a drama tentatively titled American Housewife, about a well-to-do housewife that begins hearing voices. PHOTOS: 'Puss in Boots' Premiere Red Carpet Arrivals The project, which will be produced by Fox TV Studios, is being set up as a star vehicle for Melanie Griffith, who is in negotiations to act and executive produce. Her actor husband Antonio Banderas is in talks to serve as an executive producer on the project, which he created with fellow EP and pilot scribe Erik Jendresen (Band of Brothers). STORY: Antonio Banderas and Melanie Griffith Holding Obama Fundraiser at Their Home Ray Ricard is also in talks to executive produce the project alongside Griffiths, Banderas and Jendresen, with Eclipses' David Slade to direct the pilot. Banderas is repped by CAA; Griffiths and Slade are repped by WME. Related Topics Antonio Banderas Melanie Griffith Lifetime TV Development

Elizabeth Olsen Horror Film 'Silent House' Opening March 9

Open Road Films and Liddell Entertainment have set March 9 as the national release date for the horror thriller Silent House, starring Elizabeth Olsen. The March date could build on the awards attention that Olsen is attracting for her performance in Fox Searchlight's Martha Marcy May Marlene, for which she has earned a Gotham Award nomination as breakthrough actor of the year. PHOTOS: Hollywood's New Leading Ladies In the movie, directed by the Open Water filmmaking team of Chris Kentis and Laura Lau, Olsen plays a young woman trapped in her family's secluded lakeside home. "Lizzie is phenomenal. She committed herself completely to the role and unusual challenges of our production. She's so talented and has such great instincts, she amazed us with how little she needed and how much she gave," Lau and Kentis said. PHOTOS: Elizabeth Olsen, Jessica Chastain Pose for THR Produced by Agnes Mentre ofTazora Films, the film is an Elle Driver presentation, with Adeline Fontan Tessaur, Eva Diederix, George Paaswel and Silverwood Films' Lynette Howell, serving as executive producers. Lau's screenplay was based on the Uruguayan film La Casa Muda, written by Oscar Estevez. Related Topics Martha Marcy May Marlene Elizabeth Olsen

Michael Bay Denies Latest 'Transformers' Rumors

Those reports of upcoming back-to-back "Transformers" sequels with Michael Bay back at the helm with Jason Statham riding shotgun? Sounds like there is less than meets the eye on this one. Statham himself claimed ignorance regarding the "Transformers" rumors in an interview with MTV News, and now Bay is distancing himself from the Autobots and Decepticons as well. Taking to his own Shoot For The Edit forum (via Collider), Bay said that he's not currently in talks with Paramount about making new "Transformers" movies, focusing on his long-discussed crime thriller "Pain and Gain" instead. "I am currently not talking to Paramount on T4 and T5 despite reports," wrote Bay. "I'm looking at a lot of possibilities coming my way right now weighing options. Most likely going to be doing the low budget Pain and Gain, a true story crime thriller. It's a very quick shoot and quite funny. Also just finishing the 3 disc set of the Transformer trilogy." I'm sure we'll be hearing something official about more "Transformers" movies sooner rather than later, but given their recent comments, I wouldn't bet the bank on Bay or Statham being involved. Let's file this one in the rumor drawer for now. As for "Pain and Gain," Bay spoke with us earlier this year about the project, and said that it's likely next on his to do list. "I'm still going to do it," Bay told us at the Moscow premiere of "Transformers." "I'm going to do it next." What do you think of Bay's latest "Transformers" update? Tell us in the comments section or hit us up on Twitter!

'The Descendants' Website Introduces the King Family

Fox Searchlight Pictures Fox Searchlight's drama The Descendants is about family.our editor recommendsGeorge Clooney: Career in PicturesToronto Film Festival: 13 Films to understand So, to provide audiences a much better consider the King family, Fox Searchlight has released an interactive website that digs much deeper to their family tree. PHOTOS: George Clooney: Career in Pictures The Descendants centers about Matt King (George Clooney), a land baron who tries to develop a better relationship together with his kids after his wife falls right into a coma. Alexander Payne's drama tested in the Toronto Film festival, and it is rapidly gathering honours buzz. TELLURIDE FILM REVIEW: The Descendants The interactive site has videos of each one of the family people as well as their descendants. Set against an attractive Hawaii backdrop (because the film relies there), audiences can meet Matt King's forefathers, including Hawaiian royalty. Go to the site here. George Clooney The Descendants

Harry Potter Wins Big at Scream Awards

Daniel Radcliffe Harry Potter and the Deathly Hallows Part 2 won big at the Spike TV Scream Awards, taking home six trophies including The Ultimate Scream. Daniel Radcliffe appeared on a pre-recorded tribute to the film's final installment telling the audience: "I've had the most incredible 10 years of my life on Harry Potter ... It's been the year of the longest goodbye in the world and it is a very very sad thing, but we just had the most amazing, amazing time. So, thank you so much for this." Radcliffe won Best Fantasy Actor and the film also won Best ScreamPlay, Best F/X and Holy Sh!T Scene of the Year. Check out more of today's news Another highlight of Saturday night's show was the surprise appearance by George Lucas, who went on stage when Darth Vader won the Ultimate Villain Award. "Thank you for honoring Darth Vader tonight. And just wait till you see him on the big screen in 3-D next February," he said, promoting the trilogy's upcoming 3-D release. The sixth annual Spike TV Scream Awards will air Tuesday at 9/8c. See the full list of winners here.

Who'll Replace Robert Iger as Disney's Boss?

This story first came out inside the March. 21 problem in the Hollywood Reporter.our editor recommends9 Finest Paid out Entertainment CEOsThe Philanthropy Problem: The Industry's Guards in the Atmosphere, Arts and EducationWalt Disney Stretches Robert Iger's Contract Through June 2016 Before Disney introduced that Robert Iger, current Boss and very soon-to-be chairman, will probably be departing in June 2016, many within the Miracle Kingdom assumed that veteran executive Thomas Staggs was the designated favorite to be successful him. However, many high-level experts outdoors the business aren't entirely thinking that Staggs might be the man for the job. PHOTOS: Hollywood Reporter's Philanthropy Problem: The Photographs Disney introduced March. 7 that Iger, 60, will convince add the chairman's title in March. Then, in 2015, he'll step lower as Boss, remaining as chairman through June 2016. Outgoing chairman John Pepper mentioned the move was produced to make certain "a level transition to a different generation of leadership." Which most most likely means Staggs, 49, that's been chairman of Wally Disney Parks and Resorts because the month of the month of january 2010. Before that, he'd offered as CFO since 1998, playing employment in Disney's purchases of Capital Urban centersOrMastening numbers, Pixar and Marvel Entertainment. In an unpredicted move nearly couple of years ago, Iger shuffled his executive deck through getting Staggs exchange places with Jay Rasulo, who had previously been running the theme parks since 2002. The go to give Staggs more connection with the business's methods cemented the perception he was charge candidate inside the succession derby as Rasulo was downgraded to dark equine. "I really don't know cure it might be aside from Tom," states one Disney veteran. "The board knows him. He presents nearly additionally to Bob." COMMENT: Does Disney's 9/11 Video Hint at Bob Iger's Political Aspirations? Wall Street analyst Harold Vogel states Staggs, that's been with Disney since 1990, can be a strong professional getting a depth of understanding, calling him a "expected, capable" choice. BTIG analyst Richard Greenfield verifies. "Staggs could possibly get the jerk, and traders will enjoy it," according to him. But a substantial media investor familiar with Staggs and Disney disagrees. "For me personally, he's not just a Boss," according to him. "He's a chief financial officer who they've now given line responsibility to. I don't picture Tom sitting while using premier of China or possibly a Jobs. I merely don't understand that he's that kind of gravitas." A higher executive at another media company calls Staggs "a great citizen" but states "his personality doesn't fill the region.In . STORY: Wally Disney Stretches Robert Iger's Contract Through June 2016 Clearly, Staggs required to try not to outshine his boss if he preferred to stay as front-runner. Which he'll have plenty of time to build up inside the public perception. Something from the mystery to numerous is why Disney is telegraphing Iger's future up to now in advance. "Are they all announcing today what Bob Iger does four years from now?" asks an foe at another studio. "He looks great. You'd have no idea he was 60." Though he'll just be 65 when he leaves Disney, one connect states Iger has mentioned he feels he'll come in the job extended enough in those days. And, they notes, the timetable could supply him with time to "increase to a different phase" -- whatever that may be. Related Subjects Robert Iger Disney Funnel

'Rentaghost' In the Dead, Ben Stiller Set to Star

Seems like Ben Stiller remains cast just like a dead guy. According to Variety, Fox just acquired the rights to 'Rentaghost,' a common British comedy show within the late '70s, with Stiller attached since the lead. (Warner Bros. initially had rights for the series, with Russell Brand set to star.) The actor will reunite with authors Thomas Lennon and Robert Ben Garant, they behind typically the most popular 'Night within the Museum' franchise. 'Rentaghost,' which went from 1976-84, notifies the story in the recently deceased Fred Mumford, who starts a powerful to help rent ghosts out for a number of tasks. Stiller is seen next in Brett Ratner's Wall Street revenge flick, 'Tower Heist,' on November. 4. [via Variety] [Photo: FilmMagic] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

Lifetime To Remake Steel Magnolias With All-Black Cast

EXCLUSIVE: The 1989 film Steel Magnolias is getting a contemporary remake with an all-black cast. Lifetime is developing an original movie based on the hit feature, which will be produced by Craig Zadan and Neil Meron and Sony Pictures TV, where the duo’s Storyline Entertainment has an exclusive deal for event long-form programming. Kenny Leon, who directed Storyline/SPT’s previous collaboration, the 2008 ABC movie A Raisin In The Sun, is attached to direct the new Steel Magnolias, which, like the movie, will be set in Louisiana and explore the bond among a group of women in the present day. Both Lifetime’s Steel Magnolias and ABC’s A Raisin In The Sun are based on properties that span a famous play and a feature. But while the Emmy-nominated Raisin In the Sun was based on Lorraine Hansberry’s play (whose 2004 Broadway revival Leon directed),Steel Magnolias, penned by Sally Robinson (Iron Jawed Angels), is an adaptation of the screenplay for the movie, which was written by Robert Harling based on his play. The feature boasted an all-star cast of Sally Field, Dolly Parton, Shirley MacLaine, Darryl Hannah, Olympia Dukakis, and Julia Roberts. The goal of the TV movie’s producers is to assemble a similarly high-wattage cast of black actresses. The film, said to be a passion project of Lifetime president Nancy Dubuc and EVP Programming Robert Sharenow, has not been greenlighted but is on a fast track, with some preliminary work on casting choices for the leads expected to begin soon. In addition to A Raisin In The Sun, which starred Sean Combs, Phylicia Rashad, Audra McDonald and Sanaa Lathan, Leon also directed the stage productions of Fences starring Denzel Washington and Viola Davis, and most recently The Mountaintop with Samuel L. Jackson and Angela Bassett. Zadan and Meron are executive producing the midseason NBC series Smash and Lifetime’s Drop Dead Diva, which was recently renewed for a fourth season. Additionally, the duo is producing Paramount’s Footloose remake that opens next week and the Broadway production of How To Succeed In Business Without Really Trying starring Daniel Radcliffe, who will be succeeded next year by Glee‘s Darren Criss and Nick Jonas. Steel Magnolias is not the first classic American literary property to be given an African-American makeover: L. Frank Baum’s The Wonderful Wizard Of Oz spawned the musical The Wiz, while Debbie Allen directed a Broadway production of Tennessee Williams’ Cat On A Hot Tin Roof with an all-black cast. (Leon had been attached to that project at one point.)