Steven Tyler Engagement Confirmed? Jewelry Designer Unveils Nuances Of Ring

First Launched: December 29, 2011 11:43 AM EST Credit: Getty Images La, Calif. -- Caption Steven Tyler and Erin Brady attend the 19th Annual Elton John Helps Foundation Academy awards Viewing Party within the Off-shoreline Design Center, La, on February 27, 2011While reps for Steven Tyler have continued to be mother among gossips the The The American Idol Show Show judge, 63, recommended to girlfriend Erin Brady, 38, recently, a jewelry designer who created the ring thats resulting in all of the engagement gossips has spoken out. Getting made Stevens jewelry for numerous past years, it absolutely was an recognition to sign up his future Wonderful my prefer to Steven and Erin, Loree Rodkin told Us Weekly. Access Hollywood has learned the rocker selected the five-carat gem sparkler Erin is becoming sporting on her behalf account ring finger. Erins jewel is positioned around the platinum band encrusted with glittering micro pave diamonds. Steven and Erin arent really the only stars to sport baubles within the designer. Robert Downey Junior., Cher, Madonna and Elton John are clients. Several pieces Loree designed were inside the late Elizabeth Taylors collection and offered within the recent record-setting auction in the actress jewels. Gossips Steven and Erin became engaged were sparked inside the holidays when Erin was spotted wearing the ring in their trip to Maui, on her behalf account left hands. The happy couple remains dating since 2006, coincidentally, the same time as Matthew McConaughey and Camila Alves, who increased being engaged over Christmas. Steven was formerly married to Cyrinda Foxe, a classic model for Andy Warhol, after which, to designer Teresa Barrick. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

The Rif Lover (L'amante du Rif)

A Jbila Mediterranee Prods., CCM, Tarantula, 2M Soread, SNRI, Urban Factory, Mollywood production. (Worldwide sales: Urban Distribution Intl., Montreuil, France.) Produced by Narjiss Nejjar, Lamia Chraibi, Ernest Rouschop, Valerie Bournonville, Frederic Corvez, Clement Duboin. Directed, put together by Narjiss Nejjar.With: Nadia Kounda, Mourade Zeguendi, Ouidad Elma, Nadia Niazi, Fehd Benchemsi, Omar Lotfi, Siham Assif, Raouia, Narjiss Nejjar. (Arabic, French dialogue)Seductively riffing on Bizet's "Carmen," "The Rif Lover" can be a bold, visually ravishing drama about l'amour fou as well as the taboo that patriarchal culture places on women's physiques and desires. Moroccan helmer-author Narjiss Nejjar ("Cry Forget AboutInch) once again styles a effective feminist statement which will be perceived by some as over-the-top. Nevertheless the beauty and in the filmmaking -- as well as the female thesps -- go a extended way toward having to pay for narrative wobbles and melodramatic excesses. Further fest exposure can be a given, while nudity and fraught sexual situations may well be more acceptable to Euro shops instead of Moroccan ones. Inspired having a tragic incident that befell an connect of Nejjar's relatives, the pic is essentially a cri p coeur that strongly indicts a culture that muzzles female desire by labeling it impure, and translates a lady's virginity with recognition. Impetuous, sexy 20-year-old Aya (Nadia Kounda) lives inside a small seaside village inside the attractive Rif Cordillera along with her mother (Nadia Niazi) and a pair of brothers and sisters, Ahed (Fehd Benchemsi) and Hafid (Omar Lotfi). While her never-seen father labors just like a fisherman in the united states, her brothers and sisters choose simpler although less honest be employed in the employ from the hashish trafficker, "the Baron" (Mourade Zeguendi, a smoldering presence). Aya and nearest friend Raida (Ouidad Elma) spend their days romping using the burg's maze-like streets in revealing attire, sunning by themselves the beach and relaxing on top of the connecting up houses while desiring romance to clean them off their foot. Aya fetishizes the Carlos Saura film "Carmen" and craves the heroine's sexual energy and sensual ease. When Aya's brother Ahed independently pimps her for the Baron, wanting to get their own cannabis area as a swap, he begins motion a dangerous game through which Aya becomes a pawn. Raising the question of whether a young lady trained on naive notions of romance can control her future, Nejjar allows her tragic heroine to narrate her tale in the sadder but wiser perspective. An beneficial, color-desaturated opening sequence finds Aya directly addressing the digital camera, watching, "I gave inside a love song." Beneath the dazzling great factor concerning the section unfolding inside the Rif, enclosed spaces hint at females' inadequate freedom while blood stream-red-colored-colored colors metaphorically repetition the stain playing a bride's broken hymen. The fluid camerawork makes all this a more compact amount heavy-handed laptop or computer sounds. However, things do bog lower within a lengthy -- and overheated -- episode occur a women's prison that could match any Roger Corman babes-in-the-large-house genre production. Despite the fact that some pic's dialogue is taken away as over ripe, Aya's mother will find some good lines. Tech credits are stellar, with lenser Maxime Alexandre's gorgeous widescreen plans, Tal Haddad's twinkling score and Julien Foure and Jacques Comets' evocative jump-cut editing particularly worth mention.Camera (color, DV-to-35mm, widescreen), Maxime Alexandre editors, Julien Foure, Jacques Comets music, Tal Haddad art company company directors Laurie Colson, Aurore Benoit costume designer, Nezha Bakil appear (Dolby Digital), Benjamin Falsimagne. Taoufik Mikraz, Patrice Mendez. Examined at Dubai Film Festival (competing), 12 ,. 8, 2011. Running time: 91 MIN. Contact the number newsroom at news@variety.com

Tom Hiddleston on 'War Horse,' 'The Avengers' and Chosing Between Steven Spielberg, Kenneth Branagh and Woody Allen

The subject at hand on the day that I spoke to Tom Hiddleston was the new Steven Spielberg epic, 'War Horse.' Unfortunately, that didn't stop the seemingly opportunistic writer before me from asking Hiddleston to sign a Loki-themed 'Avengers' poster -- a writer that quickly skedaddled into the ether, leaving me behind to clean up the now slightly awkward mess. Of course, Hiddleston signed the poster. From what I gathered, Hiddleston will always sign the poster because he's been on the other side, when nobody had any interest in him or his poster. It has been quite the year for Mr. Hiddleston, starring in back-to-back-to-back movies directed by Kenneth Branagh ('Thor'), Woody Allen ('Midnight in Paris') and now the Spielberg-directed Oscar contender, 'War Horse.' In 'War Horse,' Hiddleston plays the very earnest Captain Nicholls, a British officer who purchases a horse named Joey to serve as his personal steed during the early days of World War I. Hiddleston spoke about his fairly brief role in 'War Horse,' shared tales of debauchery on the set of 'The Avengers,' and -- when put on the spot -- quite surprisingly, chose between Branagh, Allen or Spielberg as the one director he'd like to work with again. Coincidentally, I carry the Ralph Fiennes, Uma Thurman 'Avengers' poster with me, if you'd like to sign that, too. [Laughs] I'll just sign it as Uma. I liked 'War Horse.' Thanks, man. You're not in it much. Well, I'm in it as much as I'm in it. That's now my headline. [Laughs] Not much I can do about it now. You know, it's just a pleasure to work with Steven. And I didn't think anybody's in it much. The true star of the film is Joey. It was funny, I shot this immediately after I finished ... well, I had a very, very busy summer. I shot 'Thor' for five months -- the first five months of 2010. Then I did a quick three weeks in Paris with Woody Allen for 'Midnight in Paris.' Then went straight into 'War Horse.' And having played Loki the first time for so long and kind of stoked up the fire of all of that psychological damage, it was like living inside that crazy man for five months. And then I saw Captain Nicholls in the screenplay and the first line says, "Captain Nicholls is a tall, kind, compassionate, decent, upper class, gentleman English officer." And I thought, that might be a nice way to spend my summer. But there is a strange earnestness to both Nicholls and Loki. I was waiting for Nicholls to turn evil because no one is that earnest without ulterior motives. But he is. [Laughs] He is, yeah. It's nice because, you know, in this film, Nicholls could be an agent of cruelty. Because by the time he turns up in the film, he is the agent of separation. He separates the horse and his boy. And one would hope the audience is already invested in that relationship -- they already want those two to stay together. And it would have been so easy to turn Captain Nicholls into this cruel, military, disciplinarian officer who was there to tear people apart. But what Michael Morpurgo wrote: he's just really, really nice. And I thought that was really sweet, actually. You mentioned the three movies you filmed in 2010 that came out this year. You worked with three very famous directors back-to-back-to-back. I know, it's, well ... there's a line in 'Hamlet,' I think, "When sorrows come, they come not single spies, but in battalions." And the same could be true of good things as well. It's like buses! In London, when you're waiting for a bus, you'll be there for half an hour and then three will come at once. It's as simple as that. I don't think that's just a London thing. That happens in NY, too. They have buses in NY? I took a bus here from the Upper West Side. That's crazy, I don't think I've ever noticed the buses. They are here! Oh, yeah, I was just picturing the big red London buses. OK, I'm putting you on the spot: You can only do one more movie and you have to pick between Kenneth Branagh, Woody Allen or Steven Spielberg. Who do you pick? Oh my God. And you're not saying, "This is the best guy"; it's just more who you would like to have another experience with. Do I have to pick one? Yes. I have to? Yes. Oh, gosh. [Long pause] They're all great. They truly were. This is like a terrible, tough question. I don't know if I can pick because they all taught me such different things. And I really feel like each of them... What did Woody Allen teach you? Woody Allen taught me that the magic happens if you show up. Half the job is showing up, in a way. Because he works so quickly and so fast that there's no time for over-thinking it, really. You just do a couple of takes and move on. But there's a magic that happens in the chemistry of it, I guess, that I perhaps didn't trust before I met him. I find it interesting you're taking on Henry V, considering your relationship with Branagh. [Laughs] I have his blessing. Let me go back to your last question, I suppose I would love to work with Steven again. Why? Just because he's the master. I honestly think he's ... it's hard to put into words. The thing is, I would have forgiven him grandeur. It's very strange when you meet someone who's essentially the architect of your childhood imagination. I grew up watching his films: 'E.T.,' 'Jaws,' 'Raiders of the Lost Ark,' 'Close Encounters,' 'Jurassic Park,' 'Schindler's List,' 'Saving Private Ryan.' And I couldn't believe I was allowed to spend time, not just in his company, but collaborating with him, creatively, on a motion picture. And, secondarily, how kind he was. He's the kindest, sweetest, most humble man I've ever met in this business. Still passionate, still nervous, still gets excited like a child on set. And then, thirdly, he's so unbelievably good at his job. And it's not just celebrity, and it's not just the accruing of credits -- he's basically an extraordinary craftsman. His ability to see a shot, to see something on a set ... amazing. As for Henry V, I'm hoping that Ken has hopes that I'm not trying to knock him off his Shakespearean perch. If I love Shakespeare, he's part of the reason I love it. And I think Shakespeare is like an Olympic torch that you have to pass on from generation to generation. So, I saw the tail end of you signing that 'Avengers' poster when I walked in. Is that aspect of it getting old? Nah, man. Chris Evans didn't seem to have the best of times on 'Captain America,' though he did enjoy 'The Avengers.' But I kind of got the sense that he was kind of over that aspect of it. Really? [Laughs] I think it's great, man. I think it's a high-class problem, you know. That's true. You don't want to be that asshole. Yeah! "Oh, there's so many people who really appreciate the work that I've done. Ooooh nooo." Yeah, I've been in the opposite situation where you've worked really hard on something and nobody wants your signature and nobody wants a poster of you. So, yeah, I should be so lucky. Were you the rabble-rouser on 'The Avengers' set? Was I? I don't know? I think you were. Maybe I was. Yeah. I'm a mischievous prankster. Mind you, all of the Avengers are. I said this at NY Comic-Con a couple of weeks ago... I was there. You were very popular with the audience. [Laughing] But it's absolutely true, this really happened. In Albuquerque one night -- and it wasn't often that everybody was there at the same time -- but there was one weekend that we were all there. I remember getting a text message from Chris Evans, which went to the cell phone of every other Avenger and it simply said, "Avengers Assemble." For drinks. Yep [laughs]. It was just hilarious. We were all out in this bar in Albuquerque on the dance floor going bananas. Considering your history together, do you wish that Kenneth Branagh had come back for the second 'Thor' movie? You know, initially, I was sad that he wasn't coming back. But, initially, when I had heard that he had chosen not to come, I was very sad because I'm so proud of his achievements in directing that film. But, then, I understand why. He's very busy and he's got other things that he wants to do as an artist. As a director and as an actor. And Marvel is so clever. They know their own metal. They know how to do the comic book stuff. Car explosions and all the CGI and stuff, but they need someone who has a really great handle on story and actors and the muscularity of performance. And I assume he told you first before it was in the press. Yeah, he did. He called and said, "This has nothing to do with you or Chris or anyone at Marvel, I love them. I had a great time." But there's just other things that he wants to do. [Photo: DreamWorks] You can contact Mike Ryan directly on Twitter Follow Moviefone on Twitter Like Moviefone on Facebook

9 of the Year's Most Inspired Screenwriting Pairings

Gail Berman and partner Lloyd Braun have relied on two primary mantras in running their company, which in less than five years has emerged as a player in developing TV series on broadcast and cable, creating websites that pull in millions of visitors and placing several feature films in development and production.our editor recommendsTHR's Women in Entertainment 2011 Highlight ReelTHR Women in Entertainment Attendees Answer: What Makes a Power Leader? (Video)NBC Buys 'Apocalipstick' Comedy, 'Masters and Apprentice' Drama from BermanBraun (Exclusive)The Scene at THR's 2011 Women In Entertainment Power 100 BreakfastRelated Topics•Women in Entertainment "Every day we have to have a couple laughs," says Berman. "And no assholes allowed." PHOTOS: THR's 2011 Women in Entertainment Power 100 Berman is buoyant as she talks about the privately held company's rapid growth. Wearing a pantsuit in her bright and airy west Los Angeles office, she laughs as she shows off some of the very personal art on her walls, such as a picture of Queen Elizabeth with Berman's head pasted on it that was a gift from comedian Steve Martin; a portrait of Alfred Hitchcock, her favorite filmmaker; and a mounted lightbulb that she says inspires her to have "good ideas." It's Berman's sense of humor, as well as her humanity and humility, that Braun says made him go after her as his partner to create a "21st century media company." "So often you begin to feel people are lying to you," says Braun, former chairman of the ABC Entertainment Group. "There isn't any of that with Gail. She is first and foremost a wonderful human being. When you add on that she is a fantastic businesswoman, has fabulous creative skills and is trustworthy, you know why I feel fortunate to have found her as a partner." COMPLETE LIST: 2011 Women in Entertainment Power 100 Adds Braun: "She's also a hell of a lot of fun to be with. You're going to have bad days, shit happens. When you have somebody down the hall who you can sit with and laugh, it makes all the difference." Under Berman's watch, BermanBraun has cultivated three thriving divisions: TV, digital and features. In scripted TV, they have Alphas on Syfy, just picked up for a second season; the Brad Meltzer unscripted Decoded for History Channel, entering its second season; Swords, in its third season on Discovery; Junk Gypsies in production for HGTV; and the Jenny Bicks pilot Modern Love, being developed for Lifetime. (They have a first-look deal at NBC, where they are developing both comedy and drama pilots.) On the features side, upcoming projects include Ben Stiller's Rent-a-Ghost with Fox and Men Are From Mars, Women Are From Venus for Summit. But it's in new media that BermanBraun has scored with sites like Wonderwall, the primary celebrity destination on MSN, and Glo for women, created with MSN and Hachette Filipacchi Media, which draws more than 5 million unique visitors a month, according to ComScore. Braun says they expect to have 10 sites by the end of next year, which they divide according to their areas of expertise. On Glo, Braun defers to Berman. "Gail knows that area better than I do," he explains. "She spends far more time making sure the editorial voice remains true and consistent. I'm capable of doing it, but I know she's going to be better at it than I am." VIDEO: THR's Women in Entertainment Power 100 Breakfast Highlight Reel Before the current phase of her professional life, Berman, 55, already had a stellar reputation. When Jennifer Salke, now president of NBC Entertainment, was at Fox Broadcasting, she watched as Berman took the network from fourth to first place during her five-year tenure. She recalls Berman as a "great leader" but not the typical executive. "It was common to see her walking down the hall with no shoes on with a megaphone calling out to everyone, 'Come on, what's going on out here? What's everybody excited about? We should be celebrating this!' " says Salke. "She was just great about rallying the troops and getting people motivated and excited to work for her." Now Salke is enjoying working with Berman at NBC, where the two have partnered on such projects as the comedy Apocalipstick (being done with Universal TV) and the drama Masters and Apprentice. "Talented people are incredibly loyal to her," Salke says. "She has deep ties with the writing, producing and acting community because she really knows her stuff. She's also very strong and direct, but not a bitch. It's a rare combination." Berman began her career from a rare vantage point. The daughter of an insurance executive and a housewife, she graduated with a degree in theater from the University of Maryland in 1978 and got her start in show business producing a live stage version of Joseph and the Amazing Technicolor Dreamcoat in Baltimore (later taking it to Broadway, where she produced several other shows) before working for Comedy Central. She'd met her husband of 31 years, comedy writer and producer Bill Masters, in school, and when he got a movie deal a decade later (his credits include Seinfeld and Murphy Brown), they moved to Hollywood with their twin children, a boy and a girl, now in college. She joined Sandollar Productions (owned by producer Sandy Gallin and Dolly Parton), which launched the Fox hit Buffy the Vampire Slayer, a series she went on to produce. That was where Peter Chernin recruited her to start a TV division for a joint venture of New Regency and Fox, where she created such hits as Fox's Malcolm in the Middle. That success led her to Fox, where as the network's first female president she launched juggernauts like American Idol and 24. "She pushed people to get out of their comfort zones," says Salke. "In that way she was very inspiring to a lot of young executives." Nina Tassler, CBS president and her longtime friend, met Berman when they worked on a pilot for Regency in 2000. Tassler adds another layer to Berman's appeal: "Gail has always listened to her inner voice," Tassler says. "She has exquisite taste and great instincts." When Berman left Fox to become president of the movie division at Paramount in 2005, those instincts told her she wasn't in the right place. She never adjusted to the corporate life and was out as part of a studio restructuring after 18 months (with two years left on her contract). Her gut told her she wanted to be entrepreneurial without the pressure of a big corporation. "You have to be self-motivated to do this," adds Berman. "And Lloyd is a wonderful partner. I don't know that I would feel so great about it if I were doing this alone." Also: "I never wake up with that feeling in the pit in my stomach. That's a positive sign." PHOTO GALLERY: View Gallery THR's 2011 Women in Entertainment Breakfast Highlights Related Topics Women in Entertainment 2011 Gail Berman

CBS Sports Network taps programming professional

CBS Sports Network has named Serta Weinberg senior veep of programming, placing him responsible for the cable network's content. Weinberg most lately offered as certification veep for Mlb. His previous experience ranges from becoming professional producer at ESPN Original Entertainment to entertainment Vice president at Six Flags. "Serta brings an abundance of knowledge about a powerful history being an innovator and deal maker," stated CBS Sports EVP and CBS Sports Network prexy David Berson, to whom Weinberg will report. CBS Sports Network may be the sister funnel of CBS that concentrates on college sports. Contact Jon Weisman at jon.weisman@variety.com

Contemporary company company directors: Stylists or shape-shifters?

Chris Weitz went within the 'New Moon' undead to 'A Better Existence.''Moneyball' marked a big change for 'Capote' director Bennett Burns.Woodsy Allen ("Evening amount of time in Paris") likes therapeutically confessional tete-a-tetes laced with jokes. David Fincher ("The Woman While using Dragon Tattoo") favors a crisply beautiful visual and purposeful camera moves. Steven Spielberg ("War Equine," "The Adventures of Tintin") choreographs onscreen action like nobody.These company company directors -- along with a lot more inside the running for Golden Globes this year -- may be mentioned to own identifiable styles, even when the subject matters and locations change, as when Allen exchanged NY for Europe, and Fincher swapped serial killings a year ago for computer brainiacs.Other Oscar competitors, however, aren't as simple to pin lower.You will discover filmmakers like Stephen Daldry, who's vaulted in the dancing British lad ("Billy Eliott") to some couple of time-hopping literary adaptations ("The Several hours," "The Visitors"), now features a publish-9/11 childlike adventure occur NY ("Very Noisy and very Close"). Is he a chameleon?What about Bennett Burns, who's gone within the rarefied arena of a mid-last century literary icon ("Capote") to Major league baseball because it is carried out today ("Moneyball"). Does he have a very stylistic thumbprint? Or could he turn that need considering a shape-shifter?"It's tough to know yet," states Style film critic John Forces about Miller's work. "Both are brilliant outsider movies, shot with elevated detachment than you normally expect. There's careful framework, and they're both rather quiet."Director Chris Weitz, who moved gears in the massive franchise follow-up (2009's "The Twilight Saga: New Moon") with this year's smaller sized father/boy drama "A Far Greater Existence," is a particular filmmaker who'd rather never increase the risk for same movie two occasions."I never need to get pigeonholed," states Weitz, who loved going in the heavily storyboarded, CGI-wealthy world like "New Moon" to something small, location-dependent -- "A Far Greater Existence" utilized 69 locations around La -- and contingent around the realistic depiction of urban existence."With techniques, it's a disadvantage, career-wise, because people would rather connect you with one factor, or possibly a specific style. However just make an effort to suit myself to no matter the fabric reaches hands. I don't have a very single unifying theme that i'm always passionate about fleshing out."He's doing admit one visual tic, though. "I really like turning the digital camera upside lower, for reasons uknown,In . Weitz adds, getting fun. "I am unsure why."Daldry, meanwhile, qualities his body at work up to now to self-known to Catholic tastes. "I'm drawn to some whole a few different tales," according to him. "In my opinion it's intentional. I never would rather pigeonhole myself. It comes down lower towards the passions and enthusiasms that we uncover."What this means is the fabric ultimately dictates the form used, Daldry notes. "Form always follows content.""J. Edgar" helmer Clint Eastwood, however, features a typically unvarnished directorial style that could have your look in through the studio system era."The means by that they composes shots is very old-fashioned," states Forces. "His sense of rhythm is slightly pokier than modern. His stuff frequently inhales and contains the emotions from the old-fashioned movie. In my opinion it's among his benefits."It develops from a belief in never pandering to have an audience, according to Eastwood's longtime cinematographer, Tom Stern. The director's fondness for just about any sometimes overpoweringly dark lighting plan of shadows and greens, for example, is not only a stylistic choice, but an easy method of "strengthening the audience's imagination," states Stern."Especially in the Hoover picture, in which you have somebody who isn't really black and white-colored, it really felt very appropriate," Stern states. "Sometimes, be it real dark, I'll say 'Is this OK?' And (Eastwood) will say, 'We're in reel three in the film they understand who it's.A And he's absolutely correct. In the event you fulfill the silhouette in reel one, then he becomes the silhouette in reel three."Overall, Weitz examines directors' styles as growing from how they experienced filmmaking. Did other interests -- like theater or writing -- come first? Or were they cinephiles from in the beginning?InchYou will discover independent artists who arrived online marketing since they were thinking about movies from when they were 12, nobody have a very stylistic factor they've taken proper care of inside their minds," according to him. "Personally, I've been learning since my first day around the film set. However think others desire to make a look and feel at work that demonstrates who they may be.InchGold GLOBE UPDATE Nixing the hijinx jinx Contemporary company company directors: Stylists or shape-shifters? Stateside sitcoms mixed overseas Honours aren't goal of HFPA giving TV biz buys into back burners Globes role Memorable moments within the Globes Contact the number newsroom at news@variety.com

Broadway harvests big holiday bucks

Broadway sales in Week 26 (Nov. 21-27) demonstrated once more that Thanksgiving is a great time to be on Broadway -- at least if you're an established hit that holiday visitors flock to see.Such in-demand productions can, after all, capitalize on the spike in time-sensitive ticket demand to rake in huge premium-price profits. Case in point: "The Book of Mormon" ($1,677,963), which played nine perfs rather than the usual eight and logged an average price-paid-per-ducat of a stratospheric $170.The holidays can be a tough time to sell most plays, however, as evidenced by slippage even at "The Mountaintop" ($575,900), "Relatively Speaking" ($520,264) and "Other Desert Cities" ($501,005), three of this season's better-performing non-tuners. Overall Rialto cume hit $28.1 million for 34 shows on the boards (vs. $26 million for 39 shows during last year's Turkey Day frame). Attendance of about 270,000 was around 85% of capacity.With Thanksgiving over, Broadway's overall sales will drop down to somewhat less stellar levels, but look poised to remain healthy throughout December and into the bonanza of the Christmas-New Year's frame.The 24 musicals grossed $23,439,000 for 83.5% of the Broadway total, with attendance of 214,872 and an average paid admission of $109.08.The 10 plays grossed $4,647,475 for 16.5% of the Broadway total, with attendance of 54,686 and an average paid admission of $84.98. Contact Gordon Cox at gordon.cox@variety.com

'Prometheus' Trailer Leak: 'Heartbreakingly Unfair' States Fox Mind Tom Rothman

Fox Shot Entertainment mind Tom Rothman is calling the leaked footage of Ridley Scott's 'Prometheus' "heartbreakingly unfair." Speaking with MTV News within the Gotham Honours on Monday evening, Rothman mentioned that Scott's vision for your film is "spectacular," but that the thing that was leaked only decided to be an "early, early, half-assed test." Rothman guaranteed that whenever the best film is released in 3d "it'll deliver." More youthful crowd strongly declined the film is certainly an 'Alien' prequel, contradicting what star Michael Fassbender recently told EW. Start to see the entire interview following a jump. Movie Trailers - Movies Blog [via MTV] [Photo: Getty] Follow Moviefone on Twitter Like Moviefone on Facebook

Chris Harrison Defends Ali Fedotowsky & Roberto Martinezs Love

First Launched: December 1, 2011 2:22 PM EST Credit: Getty Images La, Calif. -- Caption The Bachelor's Chris Harrison reaches the 17th Annual Screen Stars Guild Honours locked in the Shrine Auditorium, La, The month of the month of january 30, 2011In the wake of Ali Fedotowsky and Roberto Martinezs recent breakup, Bachelor/Bachelorette franchise host Chris Harrison is safeguarding the reality pair, saying just what the former couple had was real and not for cameras. I buy somewhat upset when people say, Oh, another one bites the dust. Its like, no, it's not the problem, Chris told Billy Rose rose bush and Package Hoover on Thursdays Access Hollywood Live, when asked for about Ali and Robertos recent split announcement. They greatly loved each other. They were trying to build up a existence in Hillcrest plus it didnt exercise. With Alis face taking up the policy from the days People magazine, Billy mentioned that numerous cynics may deem their breakup so that they can stay in everyone eye something Chris mentioned he thinks is reflective in the publics growing adoration for the Bachelor/Bachelorette franchise stars, and not a publicity grab by Ali. There's this 365-day/year news cycle now of individuals on our show, Chris who's also hosting Fundamental steps new game show, You Deserve It mentioned in the hit reality series. Yesteryear couple of years, its become this phenomenon where the tabloids and everything have kind of adopted individuals on our show. It's been interesting to look for the way it evolves. Catch Chris, along with co-host Brooke Burns, you Deserve It Mondays on ABC. Season 16 in the Bachelor premieres around the month of the month of january 2 on ABC. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Consecutive Terrence Malick Movies Means No Noah For Christian Bale

Christian Bale isn’t likely to get familiar with the title character inside the Darren Aronofsky-directed Spiritual epic Noah. Bale was not set, nevertheless it was understood he was the actor Aronofsky wanted. I’m told it won’t happen because the dates don’t work because Bale is dedicated to doing the Terrence Malick-directed Lawless and Dark evening Of Cups, which are being made consecutive. Bale’s from the Dark Dark evening Increases. Noah’s being funded by Vital and New Regency. Noah will begin production in the year.

Jim Parsons Headed Back To Broadway

First Published: November 29, 2011 11:34 AM EST Credit: Getty Images NY, N.Y. -- Caption Jim Parsons arrives at the 63rd Annual Primetime Emmy Awards held at Nokia Theatre L.A. LIVE in Los Angeles on September 18, 2011Jim Parsons seems to have gotten a big bang out of Broadway and wants to return. The star of The Big Bang Theory on CBS is set to star this summer in a Roundabout Theatre Company revival of the Pulitzer Prize-winning comedy Harvey by Mary Chase. Performances of Harvey will begin May 18 at Studio 54 with an opening set for June 14. It runs through Aug. 5. A two-time Emmy winner, Parsons made his Broadway debut in Larry Kramers play The Normal Heart earlier this year. Hell be joined in Harvey by Jessica Hecht and Charles Kimbrough. The play is about a man who gets into trouble over his friendship with a 6-foot-tall, invisible white rabbit named Harvey. Copyright 2011 by The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Primetime wholes made up of great parts

'Boardwalk Empire''The Good Wife''Modern Family'It's the measure of a successful party when no matter who slips in and out of the circle, the conversation remains lively and interesting.And that holds true with ensemble series.In the past few years in particular, ensemble TV programs have introduced a plethora of dynamic acting teams into the awards spotlight, including "Boardwalk Empire," "The Good Wife," "Modern Family" and "Glee." Weaving multiple characters into stories each week presents its own difficulties, although ensemble producers in both comedy and dramas say it is well worth it."One of the biggest dangers of writing for a star is the tendency to write all the best jokes for that actor and the secondary characters suffer," "Modern Family" executive producer and veteran comedy writer Christopher Lloyd says. "When that star isn't in there you have a lifeless scene. Here (in 'Modern Family') you are happy in any of these three households."With only about 22 minutes and change to tell the stories of each, it all comes down to less than seven minutes per "Family" household -- which might prove problematic for actors looking for the biggest piece of the performance pie. Yet when the end product is rewarding, screen time takes a back seat.Most actors in TV ensembles share the belief that balancing the load makes for a better working environment. The strain of carrying a show can have a ripple effect on the supporting cast while sharing the spotlight has its advantages."('Modern Family') could have been centered on Ty and Julie and their wacky in-laws, but that wasn't the show anyone was interested in making," says Jesse Tyler Ferguson, who plays brother Mitchell. "We are all supportive and it takes the burden off one or two people to carry the show. It keeps us happy and sane. Good actors like playing off of each other. There aren't many Ethel Mermans out there."Meshing those talents can be daunting. Many ensemble series have blown up because the writers couldn't fully develop multiple characters and storylines, leaving viewers confused and unsatisfied. But it goes even beyond that to create a solid ensemble piece."There's a period when a show works on strength of writing and acting," says Ed O'Neill, who plays dad Jay on "Modern Family." "Then it works on a comfort level and the friendships developing between the actors. You relax into these characters."Adds Ferguson: "The chemistry is second to the writing, but if there is no connection it's not going to work."Good ensemble series contain strong characters that easily could be spun off to their own series -- and probably would have been back in the spin-heavy 1970s or '80s."They have five good, solid one-hour dramas inside 'The Good Wife,'?" says NPR's "Fresh Air" TV critic David Bianculli, who teaches film and TV history at New Jersey's Rowan U. "It's the same with 'Modern Family.' It's quite a balancing act, but they manage to do it. No matter who leaves the room, you never wish you were watching someone else because they are all so good."Last year, Terence Winter's "Boardwalk Empire" took home the SAG trophy for ensemble drama. Before "Boardwalk," the show creator/exec producer worked on SAG-winner "The Sopranos." He says TV drama has come a long way from the days when Banacek or Mannix swooped in to almost single-handedly nail the perp."As a writer, it is terrific fun because you have so many different personalities colliding with each other," Winter says. "I much prefer these shows to single-star vehicles. Mathematically it's much more interesting with more characters involved."How the writers put the characters together varies, but Winter says often he simply watches the actors develop their characters and their relationships to other characters on the show.On "Boardwalk," it was corrupt crime boss Nucky and his bumbling butler Eddie. On "Sopranos," it was wiseguys Paulie and Christopher."The actor starts taking the character places you'd never imagined as the writer," Winter says. "With ('Boardwalk's') Kelly Macdonald we thought we knew who Margaret was, but she showed something going on behind those dark eyes that we had to explore."Sometimes, what starts out as a star vehicle changes course. The twice-nominated SAG award for ensemble series "The Good Wife" seemed geared toward the titular star, but a character-rich dynamic surfaced."There are only so many events in any one person's life, so with a strong ensemble cast you aren't trying to balance everything on one person," says "The Good Wife" creator-producer Robert King.King and his partner/wife, Michelle, say they are slaves to the dailies to see what is working on the screen.The character of campaign adviser Eli, played by Alan Cumming, was an unexpected addition to an already strong cast. This season Eli was brought in to the law office so he could interact with other characters. The scenes between Cumming and Archie Panjabi's investigator Kalinda worked so well some have suggested they earned their own spin-off series."That's complimentary, but I'm an actor because I like interacting and with more people comes more interaction," Cumming says, adding that being part of an ensemble allows the actors a measure of freedom. "We all have our moments and our downtime. I like working on the show and doing my own little projects. If that balance shifted and I didn't have time to do other things, it wouldn't be so fun."Being part of a large ensemble cast allows more mixing and matching of characters, which is appealing to both writers and actors. In SAG winner "Glee," the huge cast offers various points of view to the issues presented each week on the show, from losing their virginity to standing up for the underdog."The more characters, the more points of view, which opens up to more audience members to connect with those characters," says Chris Colfer, who plays Kurt.In the end, it isn't just a matter of the sum being greater than the parts, but the greatness of the parts making the best sum. "When you have an ensemble like ours," says 'The Good Wife's' King, "not writing for them is like keeping the Ferrari locked in the garage."SAG Awards: The Ensemble:Hunting in pairs | Jay displays eagle for rising talent | Expert opinions | Primetime wholes made up of great parts | SAG winners tend to head to Oscar glory Contact the Variety newsroom at news@variety.com

Ewan McGregor Joins HBO's The Corrections

Ewan McGregor Ewan McGregor is heading to the small screen.The actor has joined the cast of the HBO drama pilot The Corrections, Deadline reports.Check out photos of Ewan McGregorMcGregor joins Dianne Wiest and Chris Cooper in the project from director Noah Baumbach and Scott Rudin. Based on Jonathan Franzen's book, The Corrections is about a troubled elderly Midwestern couple (Cooper and Wiest) and their three children as they trace their lives from the mid-20th century to their last Christmas together at turn of the millennium. McGregor will play the middle brother chip, a Marxist who works for a Lithuanian crime boss defrauding American investors after losing his tenure-track job following an affair with a student.This will be McGregor's TV series debut. He can next be seen in Steven Soderbergh's Haywire.

Ted Field Claims His Film Company Was Stolen, Forced Into Bankruptcy

Kevin Winter/Getty Images Frederick "Ted" Field, a mogul whoco-founded Interscope Records, has produced more than 60 films and was named by Forbes as one of the richest people alive, alleges in a blockbuster new lawsuit that his business savvy wasn't enough to stop several individuals from duping him and hijacking his film company, Radar Pictures. Field filed his lawsuit in Los Angeles Superior Court and describes how Radar allegedly was taken from his possession and ended up in bankruptcy against his will. According to the lawsuit, Field met a man named Timothy Batchelor, who told him that he could secure film financing through a matrix of multimillion-dollar funds.Batchelor is said to have held himself out as a financial pro in the entertainment industry, having raised tens of millions of dollars in projects for Dreamworks, Fox Sony, and Disney. "None of this was true," says Field in his complaint, obtained by THR. Field, whose films include The Last Samurai, Texas Chainsaw Massacre and Jumanji, says he provided Bachelor with office space in 2010, but that his new partner was "rarely at the office" and "did very little to actually raise capital." Instead, Bachelor is alleged to have become evasive before saying he needed to retain the "sophisticated financial expertise" of Convergence Media, which Fields now asserts was an entity set up to cover Batchelor's legal troubles, tax liens on one Shawn Beswick, and bankruptcies of one Patrick Panzerella. Together, these individuals are said to have leaned on Radar to sign consulting service agreements and provide financial backing. The three individuals allegedly told Field about their experience raising funding and work in the industry, including $120 million for DreamWorks Animation and work on Fox's hit show Glee. "As it turns out, none of this was true," says Field again. Over the next few months, various agreements were allegedly presented to Radar to take advantage of investment opportunities from various billionaires and large funds. In the meantime, Field says that his new consultants were paid tens of thousands of dollars per agreement. But Field says he soon realized the defendants were not who they said they were, and after Radar refused to make further payments, the defendants "put into action their plan to take over Radar Pictures." Having been given access to corporate books and business affairs, the defendants allegedly "conspired to produce fraudulent minutes from a meeting of the Board of Directors" in September 2011, and used those minutes to issue themselves an 80 percent stake in the company's outstanding shares. According to the complaint, Batchelor, Beswick, and Panzerella then tried to oust Radar's board, including Field, fire many executives, and then put the company into bankruptcy. On November 4, Radar filed for voluntary bankruptcy protection, which Field says was an ambush intended to freeze bank accounts, suspend payroll, cause business partners to back out of contracts and cause other damage. At that time, an individual named Donald Ashlock is said to have been given the reins of Radar as the company's new president. Field filed an emergency motion to dismiss the bankruptcy filing as Ashlock fought back, producing minutes from the supposedly concocted board meeting, as well as making representations that the company needed protection because of litigation and owed rent. Ashlock is said to have showed up at Radar's office with "an apparent thug" in tow in a claimed attempt to take physical possession of the company. The police were contacted, and before their arrival, Ashlock and his associate "retreated." But Field says that the intimidation continued through "late-night phone calls and tacitly menacing emails." Field says he got the bankruptcyfiling dismissed after a November 15th hearing, but that "incredibly, later that same day, defendants...filed yet another bankruptcy petition purportedly on behalf of Radar Pictures." The next morning, the judge is said to have dismissed the petition and precluded any further filing for 180 days until ownership issues on the company could be resolved. Now, Field, represented by Jonathan Freund, is seeking an injunction preventing the defendants from taking further action over Radar Pictures, including filing for bankruptcy. He wants a judgment declaring his ownership of the corporation and also demands punitive damages of at least $10 million for conspiracy, promissory fraud, abuse of process of fiduciary duty. We attempted to contact co-defendantJohn J. Gazelin, the attorney who represented Radar in the original bankruptcy filing. Unfortunately, the phone number that Gazelin listed in the bankruptcy filing as being his sends calls to a law firm that says Gazelin hasn't worked there in over a year and a half. The other defendants couldn't be reached either, but we'll update if we hear anything more. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Radar Pictures

Deadline Hollywood Wins Journalism Honors

Deadline Hollywood won honors for top Online Report (Nikki Finke, Pete Hammond) and greatest Entertainment Website(The Deadline Team) and greatest Entertainment Publication (Deadline: The Emmy Honours Models – Nikki Finke, Nellie Andreeva, Pete Hammond with contract self-employed Ray Richmond and Diane Haithman) within the fourth annual National Entertainment Journalism Honours within the La Press Club last evening.Really, Deadline Hollywood won or was honored or will be a finalist in the majority of the very fewcategories we became a member of, including Entertainment Journalist Of Year (Nellie Andreeva).Deadline Hollywood beat its business competition in every single online category became a member of. Editor-in-Chief and Founder Nikki Finke won Best Online Set of her verifying round the Conan O’Brien/Jay Leno/Rob Zucker/Tonight Show stalemate.The judge’s comments were:”Nikki Finke enhances the bar on 24/7Internet verifying of showbiz non-stop filing multiple real-time updates ofbehind-the-moments particulars with knowledgeable analysis.“

Watch Amanda Seyfried Throw Punches and Find a Serial Killer Solo in Gone Trailer

“I’ll sleep when he’s dead!” Amanda Seyfried declares within the new trailer for Gone, referencing the serial killer that has kidnapped her onscreen sis. The thing is, Seyfried’s character Jill is frustrated because nobody in her own small town thinks the serial killer who kidnapped her 2 yrs ago has kidnapped her sister. That’s simply because they didn’t believe Jill’s story to start with (plus they’re most likely tired of Jill’s cliched dialogue). Now it’s just Jill versus. a ticking clock versus. an unsupportive police squad who attempts to convince Jill this serial killer drama is in her own mind. The thriller comes from Brazilian director Heitor Dhalia and co-stars Wes Bentley, Dexter’s Jennifer Contractor and Michael Componen. Gone appears vaguely similar to Hug the Women, that also featured a lady kidnapping victim who handles to flee a serial killer’s subterranean lair and (tries to) save another female hostages. Gone comes to theaters Feb 24. VERDICT: Because the title (shared by seven forgettable films before it) indicates, this thriller will disappear from viewer memory very quickly. [via Yahoo!]

Scarlett Johansson to Make Directorial Debut with Truman Capote Adaptation

Variety reports that Scarlett Johansson will soon join the ranks of actresses-turned-directors with Summer Crossing, Truman Capote’s first novella, about a 17-year-old Manhattan socialite who breaks away from her family and has an affair with a working class parking lot attendant in the summer of 1945. The Avengers star had discussed her directorial debut previously this fall, but with backers and The Deer Hunter producer Barry Spikings it seems the project is actually happening. Yes, but will it measure up to Jen Aniston and Demi Moore’s cancer dramas? Gauntlet dropped, ScarJo. [Variety]

Host choice highlights Oscars, Globes divide

No matter the mixed reactions to his biting humor as of this years Golden Globes, Ough Gervais will probably be to host Januarys kudocast. The VoteIf yesteryear week of honours-related turmoil has layed out anything, it is the Academy of motion Picture Arts & Sciences as well as the Hollywood Foreign Press Assn. have two different groups of points of interest if the involves their kudocasts.Wednesday's confirmation of Ough Gervais since the host in the Golden Globes highlights the versions a lot more clearly. Both organizations appear at first sight considering creating bigger ratings, but one of these brilliant orgs is not like the other.Because the Academy greatly desires to keep ABC happy about its hefty license fee by getting inside a youthful demo, it's equally attempting to uphold tradition and the brilliant -- but frequently staid -- luster that's Oscar's prepaid calling card.Display A: prospecting Brett Ratner as producer for your 2012 ceremony, then being shocked (shocked!) when his well-recorded rough edges increased being headline news. AMPAS prexy Tom Sherak wanted attention when he hired Ratner, which he might have accomplished by utilizing some damage control following a director's gay slur increased to become flashpoint.Rather, the Academy moved quickly to distance itself within the whole, wanting the easy-listening stylings of John Grazer and Billy Very would wipe the incident within the town's awareness. It's as if the Academy walked outdoors, first viewed it was flowing lower rain, and made a decision to not venture out again.Incidentally, it's challenging youthful audiences considering watching a 3-hour ceremony that honors films they haven't seen while stars thank people they've never learned about, regardless of host and producer handling the telecast.The HFPA, however, is reaping helpful benefits on its status to become the higher fun counterpoint for the Oscars (even though it has labored for respectability lately) by welcoming back Ough Gervais for round three as host.For your HFPA, ratings factors clearly trumped any residual bad feelings its people may have had over Gervais' Globes emcee stint a year ago. Despite the fact that NBC's standards and practices overseers might blunt his edge, Gervais likely registered using the caveat that no celebrity or written content might be exempt from his ridicule. It is not like he needs the task.Certainly, it is necessary for your Oscars to remain Hollywood's finest recognition, which supplies the Globes a little more leeway. But it's essential for your Academy to find out who the Oscars are for: the tv audience or perhaps the industry.It's pretty tough to serve both well. Contact Christy Grosz at christy.grosz@variety.com

Hotel Lux

Alexander Senderovich and Michael Bully Herbig in "Hotel Lux" A Constantin Film Verleih relieve a Bavaria Film Intl. presentation from the Bavaria Pictures, Beeplex Film Prods., BSI Intl. Invest, Colonia Media Filmproduktion, HerbX Film, Li Produktion, Little Shark Entertainment, Pirol Film Push., Rainer Windhager Film Push., WDR, BR, ARD Degeto, Arte production, along with Bavaria Film, Bavaria Fernsehproduktion. (Worldwide sales: Bavaria Film Intl., Geiselgasteig, Germany.) Produced by Guenter Rohrbach, Corinna Eich. Executive producers, Matthias Esche, Jan S. Kaiser. Co-producer, Michael Bully Herbig. Directed, put together by Leander Haussmann, based on motifs by Uwe Timm, Volker Einrauch.With: Michael Bully Herbig, Juergen Vogel, Thekla Reuten, Alexander Senderovich, Valery Grishko, Juraj Kukura, Sebastian Blomberg, Axel Wandtke, Steffi Kuehnert, Matthias Brenner, Robert Doelle, Josef Ostendorf, Thomas Thieme, Gennadi Vengerov, Johann Adam Oest, Daniel Wiemer, Uwe-Dag Berlin, Friedrich Karl Praetorius. (German, Russian, British dialogue)"Hotel Lux" desires to be a number of things: a side-splitting comedy about Stalin (with Hitler silently), a grandiose Hollywood-style production within the large studio era, an Indiana Manley-like romp through history. After making his title with genial comedies occur East Germany, Leander Haussmann ("Sun Alley") winds time back further, despite the fact that "Hotel Lux" isn't a train wreck on the quantity of Oskar Roehler's "Jew Suss," neither can it be original or especially inspired. Extravagant too as with dubious taste, the pic does decent biz in your house, however, many worldwide areas will probably be careful in regards to a Nazi laffer. Berlin, 1933: Apolitical ladies' guy Hendes Zeisig (Michael Bully Herbig) and Jewish commie Siggi Meyer (Juergen Vogel) have a very Stalin-Hitler act that slays Them inside the lanes. three years later, Meyer's gone into hiding and Zeisig isn't getting enjoyable along with his Stalin number, particularly with Nazi Kessel (Uwe-Dag Berlin) now accountable for the theater and pushing him to accomplish an anti-Semitic parody. Rather, Zeisig dons Meyer's Hitler outfit and works a skit they are fully aware will probably be his last. Neither the initial Stalin-Hitler act (very Mel Brooks, without any brilliant comic shock) nor Zeisig's solo Hitler number (with debt clearly to "The Fantastic Dictator") is especially funny, notwithstanding an audience's legitimate have to every so often laugh at these figures. The problem is dependant on how a comedy is produced: With Chaplin, there's terror underneath every elegant comic movement, whereas Haussmann isn't behind the buffoonery. Nazis chasing after after Zeisig lower the street, shot like quiet slapstick, is especially ill produced. Zeisig tries to acquire a visa for the U.S., convinced he'll be described as a star in Hollywood, but wrangles basically an imitation Soviet passport. He involves Moscow within the Hotel Lux, where Comintern individuals are lodged inside an atmosphere of mistrust. There, he meets Nikolai Yezhov (Alexander Senderovich), the violent, diminutive chief in the secret police, who's convinced the actor is Hitler's personal astrologer, whom Stalin is expecting. Zeisig is designated a translator, Clara (Thekla Reuten), real title Frida, a Meyer partisan whom Zeisig met in '33, and who tries to save him from an progressively sticky situation. Then Stalin (Valery Grishko) arrives. Unlike Dani Levy's not effective farce-drama hybrid "Mein Fuhrer," "Hotel Lux" doesn't act as anything aside from a comic caper. Yet without any underlying deadly importance so necessary to making the laughs cathartic, Haussmann's Uncle Joe is essentially a paranoid and superstitious fool, by getting an target the second trait. A wise cackle at Stalin (or Hitler) is a relief, while not if the sweeps away the monster within. Further (minor) laughs are created by labels identifying hotel site visitors who'll later look at become major figures in East Germany together with other Soviet-bloc nations. Once the history were completely pretend (as being a "Stargate" episode), the pic can make a pointing adventure-comedy romp, but Haussmann's want everything excursions him up. Fortunately, Herbig has personality getting a capital "P," as well as the popular spoofer has thrilling pointing the aura of stars from cinema's past. The identical might be mentioned of Haussmann's entire concept, utilizing items from another era including elaborate studio sets, matte pieces of art, dolly shots and so forth. It's playfully old-fashioned and visually pleasing, with kudos going to the fashionable, self-intentionally grandiose lensing by d.p. Hagen Bogdanski ("The Youthful Victoria") and Uli Hanisch's elaborate sets. Ralf Wengenmayr's music tries too much getting a kind of symphonic accompaniment associated with photos within the 19 forties, and also the over ripe plans, as being a mix between Max Steiner and John Williams, are excessive.Camera (color/B&W, widescreen), Hagen Bogdanski editor, Hansjoerg Weissbrich music, Ralf Wengenmayr production designer, Uli Hanisch art director, Daniel Chour costume designer, Ute Paffendorf appear (Dolby), Frank Kruse, Ben Rosenkind appear designer, Heiko Mueller, Mario Hubert effects supervisor, Adolf Wojtinek line producers, Anne Leppin, Gilbert Moehler connect producer, Matthias Batthyany casting, Simone Baer. Examined at Rome Film Festival (competing), March. 31, 2011. Running time: 106 MIN. Contact the number newsroom at news@variety.com

New Stills From Pixar's Brave

Another think about the Scottish talePixar's Brave opens next August 17 inside the Uk, nevertheless the small drainage and drops of teaser games in regards to the film are beginning to depart cracks inside the Pixar strongroom, and listed below are two new exclusive stills within the already-gorgeous-searching, hopefully-awesome Highland epic. Occur unspecified ancient occasions and boasting a virtually entirely Scottish voice cast, that is searching as sweet as shortbread. Mmmm, shortbread. Here is a unique have a look at Our Hero, Merida, as well as the lairds ranked against her, Our god MacGuffin, Dingwall and Apple computers (from left to right).The synopsis goes similar to this:InchMerida (voice of Kelly Macdonald) can be a skilled archer and impetuous daughter of King Fergus (Billy Connolly) and Full Elinor (Emma Thompson). Likely to carve her own path around, Merida defies a period-old custom sacred for the uproarious lords in the land: massive Our god MacGuffin (Kevin McKidd), surly Our god Apple computers (Craig Ferguson) and cantankerous Our god Dingwall (Robbie Coltrane)."Merida's actions inadvertently release chaos and fury inside the kingdom, then when she turns to have an eccentric old Witch (Julie Walters) for help, she's granted an ill-fated wish. The ensuing peril forces Merida to discover this really is of true bravery to have the ability to undo a beastly curse before time expires.InchOther people think Hitchcock might be mightily amused within the tribute?Or it's searching progressively as though Scotland is how being, animation-wise?See also:The Best Way To Train Your Dragon,Disney short TheBallad Of Nessie, The Illusionist. (And also on a person note, artists around the world:try Ireland too!See The Tain!)Brave arrives almost two full several days earlier in the usa laptop or computer does here, and someone really have to go to Emeryville and persuade Pixar these unnecessary delays are KILLINGUS. Round the advantages, however, we recently discovered that director Mark Andrews has implemented "Kilt Fridays" among the artists concentrating on the project, which fits some considerable approach to leading to us to become happy.

7 Quick Spoilers Within The Secret Circle's Midseason Finale

Britt Robertson and Chris Zylka It seems like only yesterday Cassie Blake (Britt Robertson) was expected to go to Chance Harbor. Now, The Important Thing Circle is likely to take hiatus before the month of the month of january - while not without any sendoff that will leave audiences clamoring for your newcomer CW series to return more quickly. The Important Thing Circle's Britt Robertson dishes round the mystery of John Blackwell Let's recap where the circle remains since Cassie turned up: While using new addition, the important thing coven made a decision to bind their circle to prevent their forces from spiraling uncontrollable (See: Faye's run-together with Sally), but that place them in a lot more danger. The crowd was hunted lower by Amelia's vengeful friend, and possessed by once-trapped demons (RIP Nick). Most-recently, the witch potential predators, who Mike (Chris Zylka) has independently been employed, are actually attempting to kill them, too. The dark miracle within Cassie because of the audience a getaway from certain dying, but makes her a target in the witch potential predators. As you are all taken up, listed below are seven quick spoilers within the midseason finale: 1. Mike becomes conflicted between his feelings for Cassie and also the duty for the witch potential predators. 2. Sorry, Adam (Thomas Dekker): Diana (Shelley Hennig) has her eye on someone else. 3. Charles' (Gale Harold) spell backfires. 4. Cassie can get closer to finding who her father is actually. 5. Two unlikely coven people synergy. 6. The episode's title, "Balcoin," can be a surname. 7. Amelia Blake wasn't alone who stood a adoration for John Blackwell. The Important Thing Circle airs Thursday at 9/8c round the CW. Return following a episode for further scoop on what's later on.

Bernie Madoff's Son, Wife Open Up to '60 Minutes' (Video)

The estranged wife and son of convicted ponzi schemer Bernie Madoff made their much-anticipated appearance on CBS' 60 Minutes Sunday night. ahead of the release of the book Truth and Consequences. Watch the video, below.our editor recommends'60 Minutes': Ponzi Scheme Perpetrator Bernie Madoff and Wife Attempted SuicideBernie Madoff Defends $60 Billion Ponzi Scheme to ABC News' Barbara Walters (Video) Ruth and Andrew Madoff spoke of their feelings about Bernie's 150-year prison sentence for creating the $60 million scheme, the suicide of Bernie's son Mark, Bernie and Ruth's hasty suicide attempt, and more. PHOTOS: The Most Talked-About TV News Faces Admitted Ruth, who was married to Madoff for decades, "Of course I feel the shame. I can barely walk down the street without worrying about people recognizing me." Andrew says, "From the very beginning of this whole episode-- I've had absolutely nothing to hide. And I've been eager, I would say almost desperate to speak out publicly and tell people that I'm absolutely not involved. Ruth continues to claim she had no idea Bernie's financial services were all a scam. "I can't explain it. I mean I trusted him. Why would it ever occur to me that it wasn't legal? The business was--his reputation was almost legendary. Why would I ever think that there was something sinister going on?" she says. VIDEO: Bernie Madoff's Daughter-in-Law Speaks Out "I never did. I never did. It didn't seem that way. There was nothing that would make me suspect anything. Sometimes I look back and I think as the years went on, he started to get more and more short tempered and maybe he just was having trouble, obviously, he had to have been," she adds. Andrew was put off by the lack of a succession plan, but had no idea what his father was up to. "His plan was that he had no plan. And he would say that when he dies, his end of the business dies. And again, it was always the-- the same response, 'That's the way it is and it's not gonna change,'" recalls Andrew. When asked if Andrew thought he was being used by his father, he said "absolutely," and added that his father would walk potential clients through the division that Andrew ran, which was legit. "It was one of the hardest things to come to grips with, in trying to get my head around this, was that feeling that I had been used-- almost as-- as a human shield by him. He-- it's-- it's unforgivable. No-- no father should do that to their sons," he says. VIDEO: Bernie Madoff's Daughter-in-law Reveals She'd 'Spit in His Face' During '20/20' Interview After Bernie revealed to his family that he was running an giant ponzi sceme, "she looked shocked," Andrew says of his mother. "She asked 'What's a Ponzi scheme?' was her first question. She didn't even understand that. I think it was me who answered and said that, "It means that it's all fake. That Dad's-- you know, his-- he's not been doing what he says he's been doing." And he followed that up and said, "Yes. I've been lying to all of you-- all of these years. I've been lying to everybody. I've been lying to myself.'" Ruth admits that even if she had known of Bernie's scheme, she's not sure if she would have turned him in. "I'm glad I didn't [know]," she says. "That woulda been tough, but I-- I would have left. Whether I'd turn him in or not, I don't know. I like to think I would have, but I-- I-- I couldn't say. I'm being completely honest with you, I have to say." She also discusses their hasty decision to commit suicide by taking Ambien. " I don't know who-- whose idea it was. But we decided to kill ourselves because it was-- it was so horrendous what was happening. We had terrible phone calls, hate mail. Just beyond anything. And I said, "I can't-- I just can't go on anymore." That's when I packed up some things to send to my sons and my grandchildren. I had some lovely antique things and things that I thought they might want. I mailed them, it was Christmas Eve, that added to the whole depression. We took pills and woke up the next day," she says. 60 Minutes' interview comes the same week as ABC News' Barbara Walters' interview with Bernie from prison, and Stephanie Madoff Mack's (the widow of Bernie's son, Mark) memoir The End of Normal. Related Topics 60 Minutes

Media moguls's great vanishing act

News Corp. CEO Rupert Murdoch has reportedly become more grumpy. At a time when Rupert Murdoch continues to squirm in the spotlight, is it a mere coincidence that his fellow media moguls have become semi-invisible to the press?The entertainment industry was founded and fostered by icons like Jack Warner and Walt Disney who relished center stage, but they were producers, not Harvard MBAs. Later generations of leaders like Michael Eisner coveted their role as public figures. Yet how often these days do we hear a valuable insight from Philippe Dauman of Viacom, Sir Howard Stringer of Sony, Steve Burke of Comcast NBC Universal or even Bob Iger at Disney? They wield giant influence over the global entertainment industry but remain sealed in their corporate cocoons.Within the last two weeks Iger has lost his biggest shareholder and most important director in Steve Jobs and has also signed a new five-year contract taking over as chairman and president. Yet the only public pronouncement emerging from Disney was from its retiring chairman, John E. Pepper (whom no one has ever heard of) reassuring stockholders that Iger "is as fresh as a daisy -- people can get tired when you're as busy as he is."Referring to "Cars 2," James B. Stewart wrote a column in the NY Times asking, "Is Disney stepping on Pixar in a quest for franchise sales?" Disney's recent pronouncements, however, have focused on its improved profits from ESPN and its theme parks, overlooking the bumpy results of its totally restructured film division. Burke, too, seems to be flummoxed on how to respond to NBC's ever-steeper slide. "No network has ever been as far behind financially as NBC," he told an analyst conference recently, to which his network chief, Bob Greenblatt, added, "we should expect it's going to be difficult because it's going to be difficult." OK. Jeffrey Bewkes of Time Warner is as cautious in his statements as in his deal-making, but nonetheless has been relatively outspoken on Netflix and the TV Everywhere initiative. Still he, too, has been wary about commenting on his TW corporate structure, where "teams" rather than single division chiefs still rule key sectors.Given the unending explosions in Rupert Murdoch's world, a case could be made that media moguls are wise to be prudent about public exposure. Murdoch, however, by choice moved from the role of corporate patriarch to that of political kingmaker. According to those close to him, he also has become increasingly grumpy and isolated.Anti-Murdoch sentiment stems from two distinct sources: The hacking scandals focused attention on Murdoch's business philosophy -- win-at-any-cost, whether in breaking news or in breaking media competitors. Second, the success of Fox News under Roger Ailes has effectively positioned the Republican Party as another Murdoch subsidiary. With the approach of an emotional presidential election, Murdoch's role in polarizing the political process elicits shrill attention in the media.Tallying up shareholder votes last week, more than one-third of the voters opposed returning Murdoch's two sons, James and Lachlan, to the board of directors -- a result that surprised even insiders. The upshot is that more and more members of the creative community regard Rupert Murdoch as toxic. If given the choice, they would prefer to work for a rival company. Fox executives recognize this but insist that, till now, this is rhetoric, not reality. Yet Murdoch's company itself is staffed by people who find their boss's politics to be abhorrent.The operating chief of Fox, Chase Carey, a Harvard MBA, displays little interest in content and zero interest in politics. His predecessor, Peter Chernin, was widely regarded as an effective "lid" on his boss, both in terms of deals and ideology. Peter Rice, who has had a successful run both on the film side and as chairman of Fox Broadcasting (who didn't go to Harvard), is widely rumored as a possible successor to Chernin's role but publicly follows the rules of media invisibility that are now the model for every executive in the corporate culture.It's safe to be secretive. The question is whether invisibility is an acceptable role for those who wield vast influence over our worldwide popular culture. Is there someone with a "vision" out there somewhere hiding behind a Harvard diploma? Column Calendar: Monday: Peter Bart Tuesday: Peter Caranicas/Cynthia Littleton wednesday: Brian Lowry Thursday: Andrew Barker/David S. Cohen Friday: Tim Gray/Ted Johnson Contact Peter Bart at peter.bart@variety.com

David Boxerbaum hopping agencies

One of APA's top literary agents, David Boxerbaum, is leaving the agency and heading to Paradigm. Boxerbaum, who is under contract at APA until the end of the year, is expected to officially join Paradigm on Jan. 1. He's currently working from an office outside of APA. "David Boxerbaum was barred from the APA offices in early summer and asked to work from home," says Jim Gosnell, prexy and CEO of APA. "He is under contract until the end of the year, after which time we wish him all the best. Despite his departure, APA continues to represent some of the top writers, showrunners and directors in the business today." Boxerbaum's client list at APA includes up-and-coming scribe David Guggenheim, whose pricey spec sales include Universal's Denzel Washington-Ryan Reynolds thriller "Safe House" and Summit's thriller "Puzzle Palace," which McG is in talks to direct. Boxerbaum also reps Ransom Riggs, author of "Miss Peregrine's Home for Peculiar Children," the feature rights to which 20th Century Fox won in a bidding war back in May. Other notable clients include genre directors Adam Green ("Hatchet") and Paul Solet ("Grace"), as well as scribes Maria Maggenti ("Dirty Dancing") and Ken Marino, who co-wrote Universal's "Role Models" and the studio's upcoming Jennifer Aniston-Paul Rudd comedy "Wanderlust," both for director David Wain. Boxerbaum said he expects all of his clients to join him at Paradigm. Boxerbaum joined APA in January, 2006 from Metropolitan Talent Agency, where he ran the lit department for four years. He started his career working for producers Jerry Bruckheimer and Rob Fried before moving to the William Morris Agency, Endeavor and, later, RKO Pictures, where he set up the 2003 Sylvester Stallone poker pic "Shade" as a creative exec. Contact Jeff Sneider at jeff.sneider@variety.com

SAG, AFTRA Back Anti-Piracy Bill

SAG, AFTRA Back Anti-Piracy Bill By Daniel Holloway October 27, 2011 Several entertainment industry unionsincluding the Screen Stars Guild as well as the American Federation of Television and Radio Artistshave grew to become an associate of together to share support for just about any new anti-piracy bill introduced inside the U.S. House of Reps yesterday. The legislation would broaden the Justice Department's energy to close utilization of so-referred to as "rogue" websites that distribute copyright-breaking material. It absolutely was produced by Reps. Lamar Cruz, R-Texas John Conyers, D-Mich. Bob Goodlatte, R-Virtual assistant. and Howard Berman, D-Calif."Without positive measures like the Stop Online Piracy Act, rogues sites is constantly on the siphon away wages and benefits of people in the creative community, greatly compromising our industry's capacity to advertise creativity, provide options, and make certain good jobs," the unions mentioned in the written statement. The Stop Online Piracy Act is known as a companion bill for the Safeguard IP Act, which passed the Senate Judiciary Committee the 2009 season with bipartisan support but immediately stood a legislative hold situated onto it by Sen. Ron Wyden, D-Ore. Safeguard IP has loved the backing in the entertainment industry, nevertheless it has furthermore been belittled by organizations for instance Google, the American Library Association, and Human Rights Watch. Public advocacy groups spoke out yesterday to share their displeasure while using similar Stop Online Piracy Act."It becomes an omnibus grab bag of corporate goodies that will hurt clients, stifle innovation, foment censorship, and affect the Internet to be sure it for your worse," David Segal, executive director in the progressive activist organization Demand Progress, mentioned in the written statement. "It's so over-the-top that we're not confident that you ought to be laughing or crying." SAG, AFTRA Back Anti-Piracy Bill By Daniel Holloway October 27, 2011 Several entertainment industry unionsincluding the Screen Stars Guild as well as the American Federation of Television and Radio Artistshave grew to become an associate of together to share support for just about any new anti-piracy bill introduced inside the U.S. House of Reps yesterday. The legislation would broaden the Justice Department's energy to close utilization of so-referred to as "rogue" websites that distribute copyright-breaking material. It absolutely was produced by Reps. Lamar Cruz, R-Texas John Conyers, D-Mich. Bob Goodlatte, R-Virtual assistant. and Howard Berman, D-Calif."Without positive measures like the Stop Online Piracy Act, rogues sites is constantly on the siphon away wages and benefits of people in the creative community, greatly compromising our industry's capacity to advertise creativity, provide options, and make certain good jobs," the unions mentioned in the written statement. The Stop Online Piracy Act is known as a companion bill for the Safeguard IP Act, which passed the Senate Judiciary Committee taken with bipartisan support but immediately stood a legislative hold situated onto it by Sen. Ron Wyden, D-Ore. Safeguard IP has loved the backing in the entertainment industry, nevertheless it has furthermore been belittled by organizations for instance Google, the American Library Association, and Human Rights Watch. Public advocacy groups spoke out yesterday to share their displeasure while using similar Stop Online Piracy Act."It becomes an omnibus grab bag of corporate goodies that will hurt clients, stifle innovation, foment censorship, and affect the web to be sure it for your worse," David Segal, executive director in the progressive activist organization Demand Progress, mentioned in the written statement. "It's so over-the-top that people are unsure should you be laughing or crying."

'Shame' Officially Rated NC-17

Shame, British director Steve McQueen's portrait of a sex addict, starringMichael Fassbender and Carey Mulligan, has officially received an NC-17 rating from the MPAA's Classification and Rating Administration.our editor recommendsThe Dirty Dozen: Films that Narrowly Avoided an NC-17Nudity, Three-Ways, Hints of Incest: A Studio's Plan to Sell 'Shame' to Oscar PHOTOS: The Dirty Dozen: Films That Narrowly Avoided an NC-17 In its latest batch of ratings notices, released Tuesday, the MPAA said that the drama, which Fox Searchlight will release Dec. 2, earned the rating because of "some explicit sexual content." While that makes the movie off-limits to anyone under the age of 18, Searchlight is not planning to appeal the rating or make any cuts to secure a less restrictive R-rating. Instead, it's readying a major awards push for the film. STORY: Nudity, Three-Ways, Hints of Incest: A Studio's Plan to Sell 'Shame' to Oscar "I think NC-17 is a badge of honor, not a scarlet letter. We believe it is time for the rating to become usable in a serious manner," Searchlight president Steve Gilula has told The Hollywood Reporter. "The sheer talent of the actors and the vision of the filmmaker are extraordinary. It's not a film that everyone will take easily, but it certainly breaks through the clutter and is distinctive and original. It's a game changer." Related Topics Carey Mulligan Michael Fassbender Fox Searchlight Pictures

Bette Davis Joins Michael Jackson and Elvis on Greatest-Generating Dead Celebs List

Approximately 2 yrs after his dying, Michael Jackson continues to be best entertainment property from beyond. Forbes launched its 2011 roster from the top-generating dead celebs, and Jackson tops all of them with $170 million in revenue. Besides he best anybody dead, he tops most living pop functions too. Only U2 made more since October 2010. PHOTOS: Hollywood's Notable Deaths Also retaining his place in the previous list is Elvis. His amounts are dwarfed by Jackson's, but 34 years after his dying, he introduced in $55 million within the this past year. The current Cirque Du Soleil show highlighting his music, Viva Elvis, assisted him retain his place. New inclusions in their email list range from the late Bette Davis. Dying at 79 in March of the year, Taylor ties John Lennon for that number 5 place. Both of them gained $12 million. Taylor's perennially effective scent, Whitened Diamonds, counts for the majority of her profits. Another notable addition towards the list is Marilyn Monroe. Gone for 51 years, Monroe has formerly been a "near miss" for that Forbes list. This season she is available in third, generating $27 million. PHOTOS: Bette Davis's Existence in Pictures Monroe's renaissance in popular culture, thanks in no small part towards the Weinstein Company's approaching biopic My Week With Marilyn, continues to be credited to her jumping in the chart. Peanuts creator Charles Schultz, Albert Einstein and Dr. Seuss will also be incorporated within the top 8. Related Subjects Michael Jackson Bette Davis Marilyn Monroe Elvis

TV Rankings: Basic steps 'Modern Family,' 'Happy Endings' Dip Slightly With World Series

Peter Hopper Stone/ABC Based on preliminary amounts, ABC's Modern Family outperform game among the Major league baseball World Series game between your Texas Rangers and also the St. Louis Cardinals within the marketer-coveted 18-49 demo. It's the 2nd year consecutively the ABC comedy capped the planet Series within the demo.our editor recommends'Glee,' 'Modern Family' win Peabodys'Happy Endings' scores rankings high, maintains more 'Modern Family' lead-in Still, Fox, which broadcast the overall game live throughout primetime, won the evening overall -- and could have triggered Modern Family to dip slightly. ABC and CBS tied in second having a 3.3 rating. PHOTOS: Around the Group of 'Modern Family' On ABC, The Center (2.9, 9 million) and Suburgatory (3.1, 8.8 million) were flat. Modern Family (5.6, 12.8 million) was lower 5 %, Happy Being lower 6 % (3., 6.9 million) and Revenge lower 7 percent (2.5, 7.9 million). CBS' Survivor: South Off-shore was up 3 % (3.3, 11.a million), as was Criminal Minds (3.9, 13.a million). CSI was flat having a 2.6 (10.six million). PHOTOS: Fall TV Preview 2011: The Coming back Shows NBC arrived third place having a 1.7 rating. Up Through The Night (2.1, 5.six million), Harry's Law (1.2, 8.a million) and Law & Order (2.1, 7.5 million) counseled me flat. Univision ranked single.5 The CW is at fifth having a .6 A repeat of Sarah Michelle Gellar's Ringer was up 13 percent as a whole audiences from a week ago with 1.two million (along with a .4 rating). America's Next Top Model (.8, 1.9 million) out-ranked NBC within the 18 to 34 demo within the 9 to 10 p.m. hour. VIDEO: Emmy Roundtable: Comedy Stars Telemundo arrived last having a .5. TV Rankings Modern Family

The Artist & Hard Times: Lost On Long Island Take Top Prizes At Hamptons Film Fest

The Artist from director Michel Hazanavicius earned the Audience Award (Narrative) while Marc Levin’s Hard Times: Lost on Long Island was honored with the Audience Award (Documentary) to pace winners at the 19th Annual Hamptons International Film Festival announced tonight. Also taking home an Audience Award was Two’s a Crowd from directors Jim Isler and Tom Isler (for Best Short), while The Fairy – directed by Dominique Abel and Fiona Gordon — was selected as winner of the Golden Starfish Narrative Feature Award. The Golden Starfish for Best Documentary went to Fellipe Barbosa’s Laura. Other winners included: The Strange Ones, from directors Christopher Radcliff and Lauren Wolkstein (Short Documentary Jury Winner); Without, from director Mark Jackson (Kodak Award for Best Cinematography and the Wouter Barendrecht Pioneering Vision Award); andYou’ve Been Trumped, from director Anthony Baxter (Victor Rabinowitz and Joanne Grant Award forSocial Justice). The Narrative Jury also awarded a special jury mention to Joshua Marton’s The Forgiveness of Blood. Previously announced winners included Small, Beautifully Moving Parts from directorsAnnie Howell and Lisa Robinson (Alfred P. Sloan Foundation Feature Film Prize), and The Bully Project from director Lee Hirsch (Brizzolara Family Foundation Award for a Film of Conflict and Resolution). 2011 Breakthrough Performer recipients included Sleeping Beauty starring Emily Browning; Melancholia featuring Alexander Skarsgard; Cracks in the Shell, with Stine Fischer Christensen; Another Happy Day starring Ezra Miller; The Descendants with Shailene Woodley; and Like Crazy starring Anton Yelchin.

Ashley Tisdale to Star in Semi-Autobiographical Comedy Project for ABC

Ashley Tisdale Ashley Tisdale has sold a semi-autobiographical comedy project to ABC that she would star in and co-executive-produce, Deadline reports. Under Construction follows a young woman who must sacrifice her independence and move back in with her family while her father helps to renovate her "money pit" home, among other things in her life. Check out all the familiar faces returning to TV this year David Holden (Accidentally on Purpose) will write the script and co-executive-produce. My Generation's Warren Littlefield will executive produce. The 26-year-old actress started out on the Disney Channel sitcom The Suite Life of Zack and Cody, before rising to fame in the High School Musical franchise. She recently executive-produced and starred in the High School Musical spin-off TV movie, Sharpay's Fabulous Adventure and starred on The CW's short-lived cheerleading series Hellcats. Do you want to see Ashley Tisdale return to the small screen?

Bardem In Talks For Wretched Me 2

He'll be considered a villain...Javier Bardem cannot stop being bad. Fortunately, he keeps everything on the watch's screen and it is now in discussions to fireplace up another evil role, this time around in cartoon form for Wretched Me 2.The very first film, which starred Steve Carell as talking villain Gru, the mastermind whose cold heart is melted by three adorable orphan moppets, demonstrated to become a huge success. So naturally, the follow up was rapidly greenlit and it is now in production at CG company Illumination Entertainment.There's little word around the plot at this time, though we all do realize that Gru will this time around face a completely new villain known as El Macho (Bardem), who brings with him their own child, Machito. The Warmth Vision blog reviews that most of the original movie's cast is returning, so expect voice turns in the likes if Russell Brand, Will Arnett, Julie Andrews, Miranda Cosgrove, Kristen Wiig and much more.Whilst stars frequently nabs roles in movies such as this gain points using their children, Bardem welcomed his first, a boy born to Penelope Cruz earlier this This summer. So his sprog will need to wait a few years to determine father for action. But that is okay, because Wretched Me 2 is not because of hit screens until October 2013...

Sean Penn Visits Publish-Gadhafi Libya

First Launched: October 5, 2011 9:38 AM EDT Credit: Getty Images TRIPOLI, Libya -- Caption Sean Penn attends the Tribeca Film Festival after-party for Love-hate Love in NY City, on April 26, 2011 Actor-activist Sean Penn states he admires Libyans for courage in overthrowing Moammar Gadhafi. Penn spoke throughout vacation to Tripoli on Wednesday. He declined to go over particulars in what he expects to complete inside the Libyan capital. But he told Connected Press Television News he admires the courage to convey we wish freedom. Its an amazing factor. Standing outdoors costly hotels, Penn also expressed confidence in Libyas efforts to produce a transition to democracy. According to him the enormous cost remains paid out however think that there is no doubt that they may stick to it through. The 51-year-old actor offers visited Egypt. He along with Cairos Tahrir Square on Friday. (Copyright 2011 by Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.) Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Moviefone Exclusive: Martin Sheen Won't Take No for an Answer in First Clip From 'The Way'

For Martin Sheen, his latest role was a family affair in more ways than one. The Hollywood icon stars in 'The Way' (out Oct. 7), a drama about a father (Sheen) who travels overseas to recover the body of his estranged son, a trekker who died while walking the El Camino de Santiago between Spain and France. What makes 'The Way' special is that Sheen's onscreen son is played by his real-life offspring Emilio Estevez, who also wrote and directed the new film. Ahead, watch the first clip from 'The Way,' which focuses on Sheen's grieving father, and the lengths he goes to understand his dearly departed son. Follow Moviefone on Twitter Like Moviefone on Facebook

Watch Transformers 3 Dark Of The Moon The Movie

Art galleries seek new model for output deals

"Kung Fu Panda 2" Netflix will carry such DWA game game titles as "Antz" and "Kung Fu Panda 2" from 2013. Cinemax is depending much more about original material for instance Boardwalk Empire and buying less movies.Primetime pix mixStudio output dealsWith DreamWorks Animation signing a distinctive streaming deal with Netflix -- couple of years just before the studio's output deal with Cinemax is due to finish -- the biz got a glimpse Monday into the amount traditional film-TV output pacts are altering.Simply put, pay cablers just aren't as considering movies simply because they was formerly. Pay-Television stations are shifting their attention from pricey theatrical output handles the art galleries and taking pleasure in the benefits of original series that substantially boost viewership and revenues.Netflix's deal to stream DreamWorks figures like "Shrek" starts in 2013, at concerning the time when Warner Bros. will start settling its own deal with Cinemax (see chart). Because the latter deal will most likely be restored due to the companies' shared corporate parentage, pacts with last century Fox and Universal that consider blockbuster game game titles aren't as precious to Cinemax simply because they were inside the premium cabler's childhood.However when Netflix becomes the initial from the new generation of digital customers, the art galleries may be capable of reduce the impact of pay-TV's disinterest inside their product. Indeed, DreamWorks Animation topper Jeffrey Katzenberg referred to as studio's exclusive streaming deal with Netflix "game-changing."Still, neither DreamWorks Animation nor Relativity Media, which increased being Netflix's first-ever pact inside the pay-TV window last This summer time, features a quantity of game game titles on componen while using box office clout shipped with the major art galleries. In addition, Netflix's stock plunge might make theatrical output deals too wealthy to cover, indicates Tony Wible, analyst with Janney Montgomery Scott."The primary studio pay TV deals are guaranteed until 2015-16, which will keep Netflix from winning them for the time being,Inch he written in the research note Monday. "Netflix's capacity to finance purchasing individuals rights is really a large question."Thinking about the truth that the standard theatrical deal with a substantial studio runs inside the neighborhood of $200 million every year, a pay internet must consider whether that slice of change might better spent going for a few changes at originals, like creating the next "True Blood stream.""We could really drop a studio and fill because space with elevated original programming or we could decide to keep that studio," mentioned Cinemax Boss Bill Nelson within an traders conference in June. Cinemax rival Showtime may be an amount better instance of the lowering reliance upon output deals. The CBS Corp.-possessed property shed handles Vital Pictures, MGM and Lionsgate, inducing the roll-from a fourth pay-TV internet, Epix, while ramping on original programming that aided drive subscription growth up 2.5 million within the this past year. CBS Corp. Boss Leslie Moonves made apparent what he felt was the important thing to Showtime's success the other day within the Goldman Sachs Communicopia conference. "The best way to succeed for Showtime is original programming, not in needing to pay these huge amounts for the art galleries for movies," he mentioned.No real surprise Starz has spent the ultimate few years building its own stable of original series. Films also still constitute 90% in the average monthly agendas on Epix and Starz, according to Nomura Equity Research, but they're lowering on Showtime, presently at 68%, and Cinemax, presently at 56%. Throughout primetime several hours, movies matter less, representing 39% and 38% of programming for Cinemax and Showtime, correspondingly.Original series be also more suitable than theatricals because of their value beyond the linear schedule. Content possession allows pay nets to monetize in other revenue streams seen as growing crucial that you contributing to subscription dollars, different from distribution to DVD.Netflix is thought to own paid out roughly $Thirty Dollars million per DWA title, possibly around double per-title fee Cinemax paid out, according to Lazard Capital Areas. The Los Gatos, Calif.-based video company is probably not really the only new bidder in a position to investing hundreds of vast amounts to lock lower film deals. Walmart-possessed Vudu, Dish's Blockbuster, Hulu and greatest Buy's CinemaNow all have deep pockets in a position to funding film library purchases weight reduction clients rent or buy movies on the web and through streaming services. And Amazon . com . com.com now guaranteed 2,000 films and TV episodes from last century Fox due to its Amazon . com . com Prime Instant Video program.There's talk in the multiplicity of potential new customers triggering a general change in the pay-TV window's traditional addiction to exclusive output deals to non-exclusivity.A Nomura group of the sector in June forecasted this kind of change, along with an increase in the requirement for such deals. "Since the major studios' deals start to expire, the idea of exclusivity to at least one network will probably be considered against going non-exclusive for just about any greater total payment per film. ... The cost for film studio deals will most likely increase with Netflix together with other potential online rivals entering the investing in an offer process."Nonetheless, the pay nets aren't forgoing output deals entirely. Cinemax recently bid effectively for photos from Summit Entertainment, whose previous distribution deal with Showtime won't finish for the next year. For Cinemax, the exit of DreamWorks and arrival of Summit reflects the cabler's preference for further several hours of live action over a couple of game game titles inside the animation genre, that's already virtually represented between Warner Bros. ("Happy Foot") and Fox ("Ice Age"). Contact Marc Graser at marc.graser@variety.com

Watch Hugh Jackman School a Robot Rocky-Style For Real Steel

Ready or not, Real Steel will box its way into theaters Oct. 7. Before deciding whether you want to spend $15 worth of your hard-earned WWE funds on robo-Rocky, check out Hugh Jackman train his mechanical fighter below. · Justin Timberlake will star in and produce Spinning Gold, a biopic of Neil Bogart, the 1970s record producer who co-founded Casablanca Records and helped launch the careers of KISS, Donna Summer, and The Village People. The script was written by Bogart’s son, Tim, who says that he instantly knew that Timberlake was right for the part: “When Justin walked into the room, that was the moment I had been waiting for 29 years…He has the exact same energy as my father, the same glimmer in his eye.” [Deadline] · DreamWorks has purchased the rights to Roald Dahl’s The BFG. E.T. writer Melissa Mathison is set to adapt the children’s book about a big friendly giant with Bourne Ultimatum’s Kathleen Kennedy and Frank Marshall producing. [Deadline] · A new documentary about Mayan civilization will reportedly prove that aliens were in touch with the ancient culture. The film, Revelations of the Mayans 2012 and Beyond, will be directed by Juan Carlos Rulfo and will reveal documents that the Mexican government has kept locked in underground vaults “for some time.” [The Wrap] · Who better to recap the new ABC series Pan Am than Steven Slater, the infamous former JetBlue flight attendant! [Esquire] · Finally, program your DVR for Dustin Hoffman’s first lead role in a television series. Here’s a glimpse at the Oscar winner as a dirty ex-con gambler in Michael Mann’s HBO series Luck. Michael Gambon, Dennis Farina, Nick Nolte and Joan Allen co-star. Season 1 Tease

Who Wins the truly amazing Kaira Pitt/Robert Redford Hair War?

In celebration of Kaira Pitt’s box office triumph in Moneyball, I only say we formalize Tyler Durden’s age-old fight of great hair with doppelganger Robert Redford. Come along once we pit the Spy Game duo’s five most comparable hair styles against one another — and settle this winsome war for good. (Clarification: I selected photos that represent the very best of each style. Yes, Kaira has already established messier “messy” ‘dos, however i selected probably the most photogenic version.) Blond energy cleft Oh, Kaira. Bobby mastered this before you decide to born. Redford’s The Way In Which I WasOrAll of the Leader’s Males clefts ought to be saved within the Smithsonian, while Kaira’s half-assed, scorch-yellow cleft ought to be stuffed inside a Nick Carter superfan vault. Woodward and Bernstein won’t be busting that available in the near future. Champion: Redford Female Tresses This type of difficult category. Here you've Take advantage of Redz in 72 Hours from the Condor sporting Martina Navratilova’s entire face, and Pitt waiting to audition for Jane Fonda’s role inside a gender-neutral remake of Klute. For resolve for ladylike angst, I must affiliate with Redz - however it’s a 7-5, 6-4 kind of victory. Kaira, which makes a formidable, but ultimately less heroic Chris Evert. Champion: Redford Simply Untidy It’s not my fault Robert Redford has spent yesteryear 5 years attempting to compete within this category, a popular of Kaira’s. Redz is unquestionably a fetching 75-year-old, but he’s essentially playing tackle football against a College lineman here. Kaira won’t even get muck on his letterman jacket. Champion: Kaira Mad Males Chic Redz built work on follicular hygiene, however i’m surprised to determine that Kaira wins this category inside a landslide. He is doing spruced-up aloofness so well, you realize? Redz is cute together with his Gatsby crest, but his temple and hairline lack miracle. Champion: Kaira Mustache This is when everything falls apart for that Kalifornia Kid: He never will get hair on your face right. It doesn’t look directly on the red-colored carpet, in Inglourious Basterds, and particularly when perched upon Pitt’s oft-re-written billy goat beard. Meanwhile, the Sundance Kid accomplishes glamor together with his ‘stache, even when his thespian characteristics are completely inferior to Paul Newman’s. This saga has ended. Champion: Redford

Academy Announces Oscar Campaign Reform to Curb Schmoozing

Beginning January 24, 2012, the Academy of Motion Picture Arts & Sciences will begin cracking down on the lifeblood that arguably keeps awards season flowing each year: Oscar parties. (Gasp!) “To the extent that the public dialog about the Oscars is who threw a good party or ran a successful campaign versus the quality of the work, that’s off-point for us,” Academy COO Ric Robertson told The Hollywood Reporter. “We want people to be talking about the work.” Talk about… the work… only? Well, sure. Sounds right. But restrict the Oscar parties and schmoozefests that the awards season machine runs on? What kind of country do we live in?? I kid. Let the movies stand on their own! No more buddying up between Oscar voters and filmmakers! And most importantly, no shit-talking the competition on social media! NOW I’ve heard everything! A rundown of the new Academy restrictions: - After Oscar nominations are announced on January 24 (until Feb. 21), no receptions may be held following screenings. - During this period, Academy members (and nominees) may not attend non-screening events celebrating that year’s nominees. - Filmmakers may only participate in two Q&A panels at screenings that Academy members have been invited to. - Remember, no crap talking the other guys on Twitter or Facebook or other social media. Or else, suspension and then bye bye membership! Got it, Nicolas Chartier? - Also, this will be the first year in which studios may send digital screeners to voting members for consideration. All of this means this year’s campaigns should be interesting to watch, and not just to see which nominees have to take out “Consider” ads for themselves. Will awards publicists play ball? Who will make a misstep in the face of these new restrictions? More importantly, does this mean Oscar will finally get its winners right purely on the basis of the films themselves? Academy Issues New Rules Restricting Oscar Campaigning at Panels and Receptions [THR]