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.