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2016-36/0813/en_head.json.gz/1569

President Obama: “I Did Tear Up” Watching Lee Daniels’ The Butler, Oprah “Can Act” Barack Obama The Butler By Shari Weiss | 8:44 pm, August 27th, 2013 President Obama revealed he shed a few tears while watching Lee Daniels’ The Butler. The movie, which is based the life of late White House butler Eugene Allen, who served under eight presidents, has topped the box office for the last two weeks. Speaking on “Tom Joyner Morning Show” in a radio interview broadcast Tuesday, the President shared how the film moved him. “I did tear up,” said Obama, explaining, “I teared up just thinking about not just the butlers who have worked here in the White House, but an entire generation of people who were talented and skilled, but because of Jim Crow (segregation laws), because of discrimination, there was only so far they could go.” Obama also praised the acting in the movie, which has garnered early Oscar buzz. “All of the acting was terrific, and I thought Forest Whitaker was wonderful,” he said. “And Oprah, my girl, she can act.” Of his own White House staff, the President says, “I will tell you that the butlers who are now here in the White House, when we first arrived, when Michelle and the girls just — first arrived, they could not have been kinder to us and warmer to us.” He continues, “And part of it, I suspect, is they look at Malia and Sasha and they say, well, this looks like my grandbaby, or this looks like my daughter.” “And I think for them to have a sense that we’ve come that far was a powerful moment for them, and certainly a powerful moment for us,” says Obama, adding, “We love them to death. They look after us just wonderfully.”

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Rosamund Pike to Star in David Fincher's 'Gone Girl' (Exclusive) Tatiana Siegel FACEBOOK The "Jack Reacher" actress will play the female lead opposite Ben Affleck in the adaptation of the hit novel, while Neil Patrick Harris and Tyler Perry are being eyed for supporting roles. David Fincher has found his Girl. Rosamund Pike has been offered and is expected to accept the starring role opposite Ben Affleck in the 20th Century Fox mystery thriller Gone Girl, which is being co-financed 50-50 with New Regency, sources said. Neil Patrick Harris and Tyler Perry are being eyed for supporting roles. PHOTOS: 11 Biggest Book-to-Big Screen Adaptations of the Last 25 Years Pike will play a wife who goes missing on her fifth wedding anniversary, as her husband (Affleck) becomes the prime suspect. Much of the story is told in flashbacks. The British actress, who recently starred opposite Tom Cruise in Jack Reacher, landed the role that had Hollywood’s thirtysomething female set jockeying for the chance to work with Fincher. A number of actresses including Charlize Theron, Natalie Portman and Emily Blunt had been reported to be in the mix, but all were ruled out for various reasons including availability. Abbie Cornish and Olivia Wilde also had been considered. Reese Witherspoon, who optioned the book last summer, is producing alongside Bruna Papandrea and Leslie Dixon. PHOTOS: Gillian Flynn and Reese Witherspoon, Stephenie Meyer and 'The Host' Cast: Authors With Their Stars The film is set to go into production in September. Author Gillian Flynn adapted the screenplay from her novel, which became one of the biggest sellers of 2012. Pike recently shot the dramedy A Long Way Down opposite Aaron Paul. The busy actress' upcoming films also include Andy Hamilton and Guy Jenkin's What We Did on Our Holiday, Fouad Mikati's Return to Sender and Peter Chelsom's Hector and the Search for Happiness. She is repped by UTA, Magnolia Entertainment and United Agents in the U.K. E-mail: Tatiana.Siegel@THR.com Twitter: @TatianaSiegel27 Tatiana Siegel THRnews@thr.com tatianasiegel27

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Valarie/Valarie's Family/Hogan Family Discussion in 'TV on DVD and Blu-ray' started by John*Wells, Jun 15, 2005. John*Wells who owns the rights to this one? I might like to see it JeffWld Warner Bros. acquired it in the Lorimar buyout. Jay_B! would be nice if they DVD'd this one to capitalize on Jason Bateman R. Kay Would be nice if they released 'Three's a Crowd' to capitalize on Jeffrey 'Hey Now' Tambor. I don't see why we won't see TAC after Three's Company winds up. Tambor was on TAC too? I know he was on The Ropers. John*P I'd buy all seasons of Valerie/The Hogan Family on DVD for sure. Its one of the most underrated of 80s sitcoms, IMO. I agree that now would be a good time to release it, what with Jason Bateman back on the scene and all. Check out:The Hogan Family Online (watch the opening theme videos for a nostalgia rush) Amy Mormino It would probably have been better for this title if an independent company (like Anchor Bay or Shout!) had been able to acquire it than Warners. There have been so few 80s family sitcoms released (especially past the first season) that the odds of V/VF/HF being released are not great. ChrisCook Now with "Family Ties" finally coming to DVD, I wonder how close are we of seeing Warner Bros. release this? It just recently, once again, was pulled off ABC Family's schedule. I hope Warner Bros. is reading this, as I really would like to see this come to DVD. And if they're reading this particular thread, please restore the full, uncut opening and closing credits (with the correct title cards for their respective seasons) to Valerie/Valerie's Family/The Hogan Family, and that the episodes are uncut (as well as the music intact). Bonus material would be nice. Roger_S This series was being aired recently on ABC Family Channel but I hear they're pulling it, even though it's only been airing at 8am. There's a chance they could air it again at some point. Yes, they were airing "Valerie's Family" (and they were almost done with Season 3) when they pulled it this week. This is the second time they've pulled it (and at the same point in the series too). Considering that this show is another acquisition property, hoping for correct restoration doesn't look good after the "Mama's Family" fiasco. It's a situation ripe for Warner to sing the "we didn't know they were cut" song again. Of course this could be an opportunity for Lion's Gate to jump on board with this Lorimar production (a la "ALF") and release the syndication versions...all the while telling you that the 6th generation syndication versions are better quality than the uncut master tapes. ABC Family has pulled this show twice so far after airing it in 2 different time slots. That doesn't bode well at all. As much as I liked this show (and all it's incarnations) I have to say that it hasn't aged that well. Skimpy plots, strained jokes. But Edie McClurg is always a hoot ! Turning the Beat Around at Our Cool New Pad Retro Remixes I have very fond memories of this show through all incarnations but I haven't seen it in many years. I'll consider buying this series when it finally gets released on DVD, I'm just not sure I will still enjoy it. No, he wasn't on Three's a Crowd. What reason would there be to have Jeffrey Tambor (who played Stanley & Helen's stuffy next door neighbor on "The Ropers") on both spinoffs from Three's Company? 15 of 21 Ethan Riley Tambor guest-starred on several memorable episodes of Three's Company, in various roles. As for Hogan's...I dunno...I watched an episode a few weeks ago and didn't think much of it. I do remember it was one of my favorites when Valerie Harper was still on. It's just one of those shows like "Full House," "What's Happening" or "Family Ties" where it's popular in its own time, but doesn't seem to exist well outside of its time. The only shows that hold up over time have some kind of a classic feel to them--some hook that makes you remember the show fondly--not just the show's premise as a whole, but distinct episodes. Lots of sitcoms don't age so well, or seem corny or out of date not long after their airings, and I think it happens when all the episodes are too similar; when the plots are too light. Take for example, "One Day at a Time..." does anybody really remember a single plot from that show, other than the fact that they were always standing around the living room? I sure don't, and yet I saw almost the entire run of the show. Same with "Alice"...there were no plots, all they did was sit around the diner and swap wisecracks. It's not like with "The Brady Bunch" when you go, "oh yeah, I remember the episode where Jan wouldn't wear her glasses, or the episode where Greg became a pop star, or the episode where Peter saved the girl at the toy shop." That's just the way "classic" tv shows work--where you can later recall different episodes, not just the series as a whole. And I think that's what, unfortunately, "Hogan's" suffers from--too much sameness. I don't even remember the episode where Valerie died; they didn't make too much of it, if I recall; she died off-camera and she'd been in the ground for months before the new season started. I think this is what's keeping most of the 80s family sitcoms from dvd so far. Since Warner told me tonight that they will continue to evaluate this, I just wanted to add that not only is this a childhood favorite (and an unreleased "holy grail" for me), but Valerie/Valerie's Family/The Hogan Family holds a very special place in my heart. To see it again as it was originally broadcast, you don't know how happy this would make me Warner. younger1968 I was watching youtube the other night and the episode where Jason Batemen''s character on The Hogan Family had to deal with aids and his buddy Rich. That is one of the classic episode to touch on AIDS. I just hope this show is released on dvd. I have been collecting Mr Belvedere, Growing Pains, Family Ties and Silver Spoons and like the family sitcoms. TV today just does not reinforce the family values like the 1960-1980s accomplished. i still hope they release this show, it was one of the better family sitcoms. I would rank it up there with the Cosby Show, Family Ties and Growing Pains. TV today does not really have any family sitcoms and we wonder why there are issues with the core family values now. LizH I thought it was OK (Nothing terribly special about it, though.) Originally Posted by Ethan Riley ) Oracle Heaven The good thing about these forums there is no right or wrong, but, opinion. Yes, the shows were good at the time, because they tough issues and some of them may or may not be relevant today. However, these shows emphasize family values and how you can jungle careers and family. If you look at the fabric of families today is significantly different because the computer and video games have become keys in the household. The internet has brought information in realtime, when in the past it was morning or evening news.

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Women that Inspire Me by CaitTheRaggDoll created 20 Mar 2011 | last updated - 20 Mar 2011 Actress, Irreversible Monica Anna Maria Bellucci was born on September 30, 1964 in the Italian village of Città di Castello, Umbria, the only child of Brunella Briganti and Pasquale Bellucci. She originally pursued a career in the legal profession. While attending the University of Perugia, she modeled on the side to earn money for school... Soundtrack, GoldenEye After almost fifty years in the music business, Tina Turner has become one of the most commercially-successful international female rock stars to date. Her sultry, powerful voice, her incredible legs, her time-tested beauty and her unforgettable story all contribute to her legendary status. Tina Turner was born Anna Mae Bullock in Nutbush... Actress, Two Women Sophia Loren was born as Sofia Scicolone at the Clinica Regina Margherita in Rome, Italy, on September 20, 1934. Her father, Riccardo Scicolone, was married to another woman and refused to marry her mother, Romilda Villani, despite the fact that she was the mother of his two children (Sophia and her younger sister Maria Scicolone)... Soundtrack, Mean Girls Pink was born Alecia Beth Moore in Doylestown, Pennsylvania, and was later raised in Philadelphia. Her parents, Judith Moore (née Kugel), a nurse, and Jim Moore, a Vietnam veteran, divorced when she was very young. Her mother is from an Ashkenazi Jewish family, while her father has Irish, German... Producer, The Oprah Winfrey Show Oprah Winfrey was born Orpah Gail Winfrey in Kosciusko, Mississippi, to Vernita Lee, a former maid, and Vernon Winfrey, a coal miner, barber, and city councilman. While Winfrey has been cited as the richest African American of the 20th century, she does not come from a rich, or even middle class, family... Self, High Drama: Against All Oz Actress, Sense and Sensibility Emma Thompson was born in London on April 15, 1959, into a family of actors - her father was Eric Thompson, who has passed away, and her mother, Phyllida Law, has co-starred with Thompson in several films (her sister, Sophie Thompson, is an actor as well). Her father was English-born and her mother is Scottish-born... Actress, Giant Elizabeth Rosemond Taylor was considered one of the last, if not the last, major star to have come out of the old Hollywood studio system. She was known internationally for her beauty, especially for her violet eyes, with which she captured audiences early on in her youth and kept the world hooked on with since... Actress, The King's Speech Helena Bonham Carter is an actress of great versatility, one of the UK's finest and most successful. Bonham Carter was born May 26, 1966 in Golders Green, London, England, the youngest of three children of Elena (née Propper de Callejón), a psychotherapist, and Raymond Bonham Carter, a merchant banker... Self, Fantasia 2000 Multi Grammy Award-winning singer/comedienne/author Bette Midler has also proven herself to be a very capable actress in a string of both dramatic and comedic roles. Midler was born in Honolulu, Hawaii, on December 1, 1945. She is the daughter of Ruth (Schindel), a seamstress, and Fred Midler, a painter... Cicely Tyson Actress, The Help Cicely Tyson was born in Harlem, New York City, where she was raised by her devoutly religious parents, from the Caribbean island of Nevis. Her mother, Theodosia, was a domestic, and her father, William Tyson, was a carpenter and painter. She was discovered by a fashion editor at Ebony magazine and... Self, The Goonies Cyndi was born at Boulevard Hospital, in Astoria, Queens. She spent her first four years in the Williamsburg section of Brooklyn. Her family then moved to Ozone Park, Queens. Producer, Lady Gaga Presents: The Monster Ball Tour at Madison Square Garden Lady Gaga, born Stefani Joanne Angelina Germanotta, is an American songwriter, singer, actress, philanthropist, dancer and fashion designer. Gaga was born on March 28, 1986 in Manhattan, New York City, to Cynthia Louise (Bissett) and Joseph Anthony Germanotta, Jr., an internet entrepreneur. Her father is of Italian descent... Producer, Ellen: The Ellen DeGeneres Show Emmy-winning talk show host Ellen Lee DeGeneres was born in Metairie, Louisiana, a New Orleans suburb. She is the daughter of Betty DeGeneres (née Elizabeth Jane Pfeffer), a speech therapist, and Elliott Everett DeGeneres, an insurance agent. Her brother is musician and producer Vance DeGeneres. Her parents divorced when she was sixteen years old... Actress, Mask The beat goes on ... and on ... and as strong as ever for this superstar entertainer who has well surpassed the four-decade mark while improbably transforming herself from an artificial, glossy "flashionplate" singer into a serious, Oscar-worthy, dramatic actress ... and back again! With more ups and downs than the 2008 Dow Jones Industrial Average... Self, The Porter Wagoner Show Dolly Rebecca Parton was born on January 19, 1946, one of 12 children of Robert Lee Parton, a tobacco farmer, and Avie Lee Parton (née Owens). Dolly grew up on a run-down farm in Locust Ridge, Tennessee. At 12, she was appearing on Knoxville TV and, at 13, she was already recording on a small label and appearing at the Grand Ole Opry... Rosanne Cash Self, Johnny Cash Live: Remember Me the Man in Black Self, Good Hair Other Lists By CaitTheRaggDoll See all lists by CaitTheRaggDoll »

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Sandra Bullock at SBIFF 2010 An Evening with Sandra Bullock The Star Receives the American Riviera Award By Michelle Drown Friday night saw throngs of folks gathered on the rain glistening street in front of the Arlington waiting for a chance to glimpse mega movie star Sandra Bullock. Receiving the American Riviera Award — given to an American actor whose work has made an indelible mark in cinema — Bullock arrived solo and spent the next half-hour-plus graciously answering questions and posing for photographs on the red carpet. As a result, the 8 p.m. start time was pushed back significantly, but the audience didn’t seem to mind the delay. After a brief intro by SBIFF Board of Directors President Jeffrey Barbakow and a turn at the podium for mega sponsor Chopin vodka’s CEO, Bullock was invited onstage by the evening’s moderator, film critic Pete Hammond. SBIFF 2010 Sandra Bullock View thumbnails Looking gorgeous in a form-fitting black dress and sky-high heels, Bullock spent the next two-plus hours endearing the audience to her with her funny, self-effacing comments, openness, and sincerity. Hammond guided us through the expanse of Bullock’s life and career. Raised by two working opera singers, Bullock spoke of being on stage at an early age as “the dirty gypsy child” in her mother’s productions. This experience, she said, taught her a valuable lesson about the business. During one opera performance, the young Bullock was carrying out her “gypsy” role by collecting money that was supposedly being thrown onto the stage. Rather than remaining in the shadows, however, she trotted in front of the tenor, thus breaking a sacred rule of performance—don’t upstage the star. She’s never forgotten that, she said. Sandra Bullock with Forest Whitaker, who presented the Riviera award Throughout the evening, montages from Bullock’s films throughout her career were shown. It was interesting—and her comments often hilarious—to get the inside scoop on each film. “This is painful to watch,” she said after clips from A Time to Kill and While You Were Sleeping. While she delighted in the movies themselves, she said she could only see what she could have done differently (i.e., better) with her role. She spoke candidly about the poor decision-making involved in accepting the lead role in Speed 2. (“Obviously Keanu knew something that I didn’t,” she laughed.) In good humor she joked about asking, “When do we get a script?” not realizing, she said, “Apparently you don’t need one in an action film.” Still, Bullock has no regrets, claiming that she learned invaluable lessons from Speed 2 as well as the other flops she’s made. (Who’s seen Fire on the Amazon?) The evening closed with snippets from Bullock’s 2009 hit films The Proposal and The Blind Side. She did mention with sarcasm that she was surprised her other 2009 film, All About Steve — which was panned by audiences and critics alike — hasn’t been nominated for anything except a Razzie. “It’s a film before it’s time,” she said, laughing, and expects it to achieve cult status á la The Wizard of Oz or Rocky Horror Picture Show in 10 years. Regarding this year of serious award nominations she confessed, “This has been a big year and in a way I haven’t processed it yet.” Actor/director Forrest Whitaker then took the stage to present his friend with her award — he was her director in the 1998 film Hope Floats and she presented him an award at the festival a couple years ago — and gave a poetic speech about Bullock’s grace and depth to a rapt audience. Sandra Bullock Comes to SBIFF What’s Up With Film Fest Sandra Bullock SBIFF Peeps Creepy Feelings Forrest Whitaker was absolutely lovely. He kept stepping out of the lime light. Ushering himself very demurely around her with his hand always guiding the press back to Sandy while she slowly wound her way up the Red Carpet. His speech was the stuff of poetic legend. Describing her as a dancer...a perfect partner...a perfect follow..."landing gracefully into every performance." He was loving,gentle and kind. She held back the tears...but a few slipped through. Forrest expressed the dedication and support that one saves only for the dearest in their lives. It was a wonderful speech and the wonder was amplified by Forrest's engaging ability as an orator. Lovely and amazing. All eyes were on her and he made sure of it. emenzies (Elizabeth Menzies)February 6, 2010 at 6:01 p.m. (Suggest removal)

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Memento - Special Edition DVD (15) Review: Jack Foley DVD SPECIAL FEATURES: Disc One: Commentary with 3 alternative endings (109 minutes). Disc Two: Interview with Christopher Nolan (24 mins). Interview with Guy Pearce (13 mins). Anatomy of a Scene (26 mins). Biographies. Reverse version of feature Easter egg. Disc Three: Shooting Script split screen (109 mins). Memento Mori (34 mins). Galleries. Website. International trailer. IT SEEMS ironic that a film about someone's battle against memory loss should be so memorable, but the fact remains that Memento is the type of movie you will remember long after the final reel. As clever as The Usual Suspects and as intricate after the event as The Sixth Sense, Memento, directed by Brit Christopher Nolan, should not be missed by anyone who enjoys challenging movie-making which dares to be different. Guy (LA Confidential) Pearce stars as Leonard Shelby, a former insurance investigator, now searching for the man who raped and killed his wife. Only trouble is, he suffers from short term memory loss and cannot create new memories, an affliction caused by the head injury he sustained while trying to prevent the men from murdering his beloved. Leonard can remember his life before the attack but anything since then is impossible to hold on to for longer than 15 minutes. As such, he can often forget where he is, what he is doing and who he is with. But driven by instinct and rage, Leonard is determined to uncover the truth and pieces together the facts using polaroids (for the people and places he needs to remember) and tattoos on his body (for the facts). Helping him is Joe Pantoliano's dubious Teddy, a man who may or may not be his friend, and Carrie-Anne Moss's Natalie, an equally untrustworthy bartender who may be using Leonard to solve her own problems. To complicate matters still further, Nolan's film is told backwards, so that the start is the end and matters unfold from there. So anyone expecting an easy couple of hours is best advised to steer clear, for this is demanding, even exhausting cinema which requires every ounce of attention just to keep up. That isn't to say the film is impossible to follow, merely it requires attention, but it is constructed in such a way that it never fails to command your attention. Interspersed with the main story is a vignette concerning Leonard's former life, about a case he investigated involving a man with a similar affliction, which is worth paying attention to for the answers it may hold. The proceedings also benefit from a great deal of humour (most of it dark), some well executed set pieces, and some blistering turns from all involved. Pearce, in particular, stands out as Leonard, a man clinging on to a former life in a bid to do the right thing. His frustrations, his anxieties and his utter confusion are brilliantly conveyed in a performance of quiet intensity, never more so than when he discusses the nature of memory. But Pantoliano and Moss (who last starred together in The Matrix) are no less impressive, revelling in shady roles which may hold vital pieces to the puzzle. Nolan's screenplay is equally breathtaking, providing viewers with some thought-provoking material before allowing them to see the complete picture via a well concealed twist ending. The path to the truth may, at times, be mentally fatiguing but the payoff is more than worth it. I can guarantee, you will be talking about it for days. Review Archive

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The actor has been busy since Bridesmaids, and it’s made him eager to return to his roots as an actor and Roscommoner. From the beginning of our conversation, Chris O’Dowd is enthusiastic. I only have my first two words out before he says, “Yes!” My first two words, “Moone Boy,” are the title of O’Dowd’s autobiographical coming-of-age comedy that is back for a second season after a near two-year hiatus and O’Dowd is rightfully exclamatory. As he will explain in a few seconds, the second episode of the second season aired hours before in Ireland and the U.K. and he’s on Twitter checking the reaction. It’s good.Immensely personal and culturally aware, “Moone Boy” may be O’Dowd’s favorite project right now because it connects him to his childhood home. In fact, many of the scenes are filmed in places he knew as an adolescent, and most of the storylines are drawn straight from his own experience growing up in Boyle, Co. Roscommon. It is of course embellished with sharp one-liners and O’Dowd, now 34, playing the imaginary friend to Martin Moone, the fictionalized version of his 12-year-old self, which he claims he never had. But “Moone Boy” is only the beginning of our conversation and O’Dowd’s burgeoning career. This year alone, he has four films making their U.S. premiers: The Double, an adaptation of a Dostoyevsky novella directed by Richard Ayoade, a former co-star in the U.K. hit sitcom “The IT Crowd” where O’Dowd had his first major break; St. Vincent de Van Nuys, a dark comedy in which he stars along with Bill Murray; Cuban Fury, which sees him partnered with both Rashida Jones (“Parks and Rec”) and Nick Frost (Shawn of the Dead, The World’s End) and promises a parking lot dance-off; and Calvary, the second feature by John Michael McDonagh (The Guard) and also starring Brendan Gleeson. Not only is O’Dowd appearing in these films, but beginning March 19, he will be on Broadway for a limited-engagement revival of John Steinbeck’s Of Mice and Men as Lennie, a large but simple-minded migrant worker, opposite James Franco who plays George, Lennie’s short-tempered companion.Since his appearance in Bridesmaids in 2011 as the handsome and huggable Officer Rhodes who falls for Kristen Wiig, O’Dowd has been in demand. Mostly, he takes this in stride, but recognizes the impulse to read too much into his characters as a reflection of himself. The roles he’s taken since his catapult to American fame three years ago have been mostly comedic, if bordering on melancholy. In 2012’s Friends with Kids he portrays with biting realism a husband trying to find the balance between reconnecting with his wife and enjoying alone time after the births of their children. And his performance as a washed-out cruise ship entertainer-turned-aboriginal soul-group band manager in the Australian film The Sapphires allowed him to demonstrate the full emotional range of a man struggling with his own mediocrity, using comedy as a crutch (a very funny crutch), and envisioning greater responsibility for himself.But although he’s a funny man on screen, O’Dowd is deadly serious about his craft and the work that goes into it. In our conversation below, he talks about the genesis for “Moone Boy,” the importance of women in comedy, his ideal schedule, and why he stopped playing Gaelic football (which he’s only possibly joking about).What made you want to go back to that time in your life when “Moone Boy” is set, or that period of transition in Ireland, the late 80s and early 90s, when you started the show a few years ago?It was just after Bridesmaids came out and I felt like I needed to go back and do something that reconnected with home so that it didn’t get washed away in the madness.And you studied politics and sociology at UCD.I did!Did that education influence the writing at all for “Moone Boy”? It’s a show about individual characters surely, but they’re often banded together or separated by their reactions to the political and cultural events at the time.I guess so; I don’t know! I don’t know if there’s much influence from the politics side, but I am very interested in politics, and I did do an episode in the first season with the first female president being elected. And sociologically, I guess at that time in Ireland the biggest change I think is the nature of women’s roles politically and socially. I like the idea that the show has very strong female characters in it. Even though the main characters are male, the female characters are strong, independent women. So that I guess would be the only part of it.And that comes from your own childhood growing up with your sisters and your family dynamic.Yes, obviously it’s a very similar makeup in my family. My dad did the same thing as the dad in the show, my mum did the same thing, I had three sisters, so it is pretty autobiographical.There’s a scene in the first season where Martin becomes an altar boy because they’re the cool kids at Mass, but then it turns out they’re actually involved in some light embezzlement, shall we say. Were you similarly part of an altar boy mafia?[Laughs] I was an altar boy. And it did have kind of a cult-like quality to it. Because I think at that age it’s almost like your own language that you develop amongst your friends as a way to disassociate with the rest of the world. So I’m sure there was a lot of that and I’m sure that’s probably where that idea came from.Is this the story you’d be telling if you had unlimited resources?That’s a good question. I mean, I think we’re lucky in that we’re fairly well supported. TV’s tough to make at any stage, particularly back in Ireland because it’s expensive. But it’s the show I like doing above all else. It’s my favorite job, writing and directing the show.I saw in an interview you gave elsewhere you said you turned down a few projects to work on this show. Is this something you think you’re going to transition into more, the writing, producing, and directing side of entertainment?I’d definitely like to get behind the camera more as time goes on. I love acting, but I’m not particularly a fan of being famous. So I love the idea of being able to do acting in theater, and then maybe write and direct TV and movies. That would be a perfect world for me if I have the opportunity.Speaking of theater, you’re coming up in Of Mice and Men. Which is a pretty big departure from your previous work. First, it’s on stage. And it’s a dramatic role; you’re Lennie. How did that come about?Honestly, I just got the call asking if I’d be interested. And I said I very much would. And I got really excited about it and then it just went away. And then like three months later they said, “It’s happening. Like, soon.” So I jumped on board. There was no thinking time needed by me, I just love the play, and the opportunity to do something on Broadway was just something I’d been looking for anyway.You’ve got kind of big shoes to fill. James Earl Jones was the last one to play Lennie on Broadway. Are you nervous?I know! I am absolutely shitting it, yea. But I’m trying to keep it together. We’re just in Chicago at the moment. We’ve just done our first week of rehearsals. We come to New York next week, and it’s going to be terrifying. But yea, I’m really enjoying it. And it’s an equal measure excitement and hand-wetting right now, and I’m interested to see how that equilibrium balances out or takes over in the coming weeks.Can you tell us a little bit about your preparation for the role?You know, I don’t really know. I tried to find out exactly what to learn. And in many ways it’s kind of hard. There’s a lot of different thinking, a lot of people have different thoughts on it. But he is essentially a guy who is cognitively disabled so I’ve been watching all sorts of stuff and trying to nail down the physicality of it and the vocals. And also he is essentially kind of like a big baby; he’s constantly referred to as a bear and a baby, and I guess I’m just trying to measure all of that together and try not to over-think it.It seems like there’s a lot of pressure for comedic actors to transition to more dramatic roles once they’ve established themselves in the public eye as comedians. Were you conscious of that when you chose to take on the role of Lennie?You know not really. I do sometimes feel pressure to do dramas, but then I’ll read the drama in question and just have no interest in it. I think there’s such kind of mediocre dramas being bandied about, but I found it hard to get excited about it. But this piece of work is so beautiful that it was a no-brainer. But I do find it odd that in nearly every interview I would do I would get asked when am I going to do some dramatic acting. And I think comedic acting is very, very difficult, which is why so few people can do it well. And I doubt very much whether dramatic actors get asked when they are going to do comedic acting.Why do you think that is?Snobbery.That dramatic roles win the awards?I guess so. I don’t even know what that’s about. You know, it’s like who can cry the best. I don’t know, like. Sometimes it’s great. And comedy in a lot of ways is a lot more difficult because in many ways it’s less open to interpretation. Something is either funny or it’s not; if people aren’t laughing, guess what, it wasn’t good. It’s as simple as that. Whereas I think dramas can get away with a lot because the shot looks nice.Do you think in the films you’re doing you’re beginning to be perceived as being type cast? Or you’re being cast for a very specific supporting reason?Not really, considering what I’m doing right now, no. Definitely people think of you in certain ways and that’s absolutely fine, but the roles I’ve got coming up they’re all very different, so it hasn’t really been my experience. I’m often drawn to similar things, but no, I feel like I’ve been given plenty of opportunities to do other stuff. You know you have to be careful not to do the same thing over and over again. Right after Bridesmaids and all that, I tried to avoid doing another romcom, and then tried to avoid another kind of sitcom like “The IT Crowd.” You know, try to get behind the camera and then go on stage. You have to actively diverge from what you’ve done before; it won’t just happen.After The Sapphires came out, Jack Coyle at The Huffington Post compared you to Bill Murray, in the 70s for enlivening the film “with your winning charisma.” And I wondered how you felt about that comparison. I read that Murray is one of your icons of comedy and that you just worked with him this last summer on St. Vincent de Van Nuys.Wow. I’ll take that! Yea he is, he’s one of my heroes. And I did. I briefly worked with him this summer and he was just the most charming and lovely man. So that just solidified him in my books as a cool dude. It’s a lovely comparison, of course I’ll take that all day, but I don’t know necessarily if it’s true. I’ve got a long, long way to go yet.Who are some of your other inspirations for acting and how did you get started in the industry?In terms of other people that I really enjoy watching, one of my heroes would be John C. Reilly. I feel like I could just watch him do anything. Philip Seymour Hoffman was a big hero of mine. Those guys were pretty great, and then you know someone like Will Ferrell who’s so consistently funny.I went to university and while I was studying I joined the drama society and started doing plays there. Essentially, I stopped being part of the “yearly facility,” as it were, [and only] did maybe two or three plays there a month. It was a great way to just get used to it. You did dozens of plays and they’re not necessarily the greatest quality, but you really get so much stage time and you get your confidence. Then I went to drama school in London. I went to the London Academy of Music and Dramatic Arts and that was more of a traditional, almost like Shakespearian teaching. And I guess I thought of myself as a dramatic actor then, so the fact that I went into comedy was a surprise. I had three or four jobs that were dramatic and I just didn’t see comedy as a realistic thing that I could achieve or an option. But I’m glad that it was. What was the catalyst for the shift from perceiving yourself as a dramatic actor to a comedian?I played a comedian in a film called Festival. And it was a comedy but it was a relatively dramatic role; there was a lot going on. He was an alcoholic comedian who wins an award at the Edinburgh Comedy Festival and I ended up winning a BAFTA in Scotland for it and then I got a lot more comedy roles from that. “The IT Crowd” came from that, and sitcom is the purest kind of comedy you can do. It’s such a set-up-and-joke scenario. There’s no room for interpretation – what you’re doing is trying to make people laugh. That’s the raison d’ être of the sitcom and I love that in it’s own way because it’s its own little art form. From then on it was a lot more comedy I would get offered, and once I got into the mechanics of how comedy worked I was fascinated by it. And then I got to work with Judd [Apatow] (This Is 40), Kristen Wiig (Bridesmaids), Lena Dunham (“Girls”), and all of those people over the last two years, which has been great.What’s it like coming from a traditional acting school and going to people like Lena Dunham and Judd Apatow and Christopher Guest who really encourage improvisation? Especially for something like Guest’s “Family Tree” where the dialogue is completely improvised. Was that new to you, or did improv come naturally?I guess it did to an extent. I hadn’t done improv on stage or anything before. I’d always done a little bit of it in some work I’d done, but not to the extent that we did in “Family Tree.” And that is quite a scary experience. But working with Lena and Judd, their scripts are already really strong so there’s definitely room to improv and those guys are so open to it, but there isn’t a huge need to do it, so the pressure isn’t as much, so you only do it if you feel like you’re going to add something to it. It’s a great scenario to do improv when it’s not totally necessary, where you’re hoping that you’ll add something to it but you’re not getting in the way. You often do it at the end of scenes and stuff so people can cut it out if it’s shit.My last question for you: You played Gaelic football. Can you tell us a little about the athlete Chris O’Dowd?Oh wow [laughs] yea! It’s a great sport and I still follow it. I played minor for Roscommon, actually all the ages – under 14, 16, 18, 21. And then I played in the Connaught finals and all that kind of stuff and, er, I guess I stopped playing once I really started enjoying Jamesons.“Moone Boy” premiers April 24 in the U.S. on Hulu. Previews for Of Mice and Men begin March 19. Opening night is April 16 and the limited engagement runs through July 27 at the Longacre Theater in New York.For more visit Irish America magazine here. MostPopular True political rogue - Donald Trump could get some tips from the Healy-Raes Kirsten Sheridan working on new Amy Winehouse bio-pic

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A Palestinian filmmaker who is nominated for an Oscar was detained at Los Angeles International Airport after arriving in the country for the awards show. Emad Burnat - who made a documentary called "5 Broken Cameras” - his wife and their 8-year-old son were detained by authorities after officials questioned the reason for Burnat’s visit to the U.S. Burnat was able to contact fellow filmmaker Michael Moore during the ordeal, and after about an hour and a half delay, the family was allowed to leave. The Oscars are Sunday. In the news

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“The Hangover” actor Zach Galifianakis has been helping out a formerly homeless 87-year-old woman, it was reported today. Galifianakis met the woman in 1994 and when he found out two years ago that she was homeless, he arranged to have her live in an apartment building - and he pays the rent. Galifianakis also has taken the woman with him to premieres of his films. The Eleanor Mustang that was used in “Gone in Sixty Seconds” sold at auction recently for $1 million. The 1967 Ford starred in the film along with Nicholas Cage and Angelina Jolie. Hot video: Robert Pattinson moves out Following his breakup with girlfriend Kristen Stewart, Rob is spotted taking his things from her home.

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Musical Theater Center Company presents Disney's 'Beauty and the Beast, Jr.' Cast of “Beauty and the Beast, Jr.” includes (from left) Sydney Kindsvater, Eliza Turner and Piper Reinwald. The Musical Theater Center Company (MTCC) is proud to present Disney's Beauty and the Beast, Jr on May 4 and 5 at The Woolfe Street Playhouse, 34 Woolfe St. Experience the magic of professional theater for kids by kids. Tickets are available for three performances: Saturday, May 4 at 3 and 7 p.m., and Sunday at 2 p.m. with a run time of one hour. Tickets are $15 for adults and $10 for children and can be purchased at www.once-upon-a-ballet.com. Adapted from the popular Disney movie and the 1994 Broadway hit, “Beauty and the Beast, Jr.” features a talented all-children's cast performing classic songs such as “Be Our Guest” and “Tale as Old as Time.” The story centers around a prince who is transformed into a Beast and a young woman named Belle whom he imprisons in his castle. To become a prince again, the Beast must love Belle and win her love in return, or he will remain a Beast forever.Musical Theater Center Company is the non-profit division of Once Upon a Ballet. Allyson Lewis is co-founder of The Musical Theater Center Company, along with director Courtney Sarre, and producer of “Beauty and the Beast, Jr.” The MTCC shares the joy of children's theater through free public performances, including visits to nursing homes and participation in community events and fairs. MTCC also works with the Charleston County school system by bringing performances to individual schools and after-school programs, thereby allowing all children to experience the joy of theater, regardless of financial capability. MTCC inspires the community through powerful and exceptional stage productions made up entirely of child actors including enhanced design backgrounds, costuming, makeup, and strong leadership.“Our show is pure family entertainment.” said Courtney Sarre, director of “Beauty and the Beast, Jr.” “What makes The Musical Theater Center Company unique is the professionally trained cast, and their effect on children in the audience. A performance cast made up entirely of children has proven to connect with families and other children in a way that is powerful and effective that adult theater cannot.”The cast is composed of children from the ages of 5-12, who commit to a rigorous schedule of ballet, jazz, vocals and acting to achieve the polished shows that the Musical Theater Center Company has gained a reputation for. MTCC also has an upcoming production of “Peter Pan” at the Wando High School Performing Arts Center on June 8 and 9. Details for both shows and ticket information can be found at http://www.once-upon-a-ballet.com , on The Musical Theater Center Facebook page, or by calling the studio at 216-6671. You can also check out their summer camps. Latest Videos

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Fascinating Stories from 'Zero Dark Thirty' Reveal Its Origins and Which Actor Tried Waterboarding Kathryn Bigelow’s Zero Dark Thirty is already wowing critics and generating serious awards buzz ahead of its official December 19 opening date, and if you’re curious as to how the Hurt Locker director and her partner Mark Boal managed to get this project off the ground, Vulture has a fascinating behind-the-scenes profile that you’ll want to check out. The feature covers a wide range of topics relating to the film – including how plans Boal and Bigelow had to make a film about the failed attempt to capture bin Laden at Tora Bora fell apart in the aftermath of his death in 2011. While some filmmakers would have been crushed by the news that their project (one they’d been working for years) was now irrelevant, Bigelow and Boal simply shifted gears and found a better story in the process. The piece goes in depth in regards to how they made the transition – and Bigelow’s fanatical devotion to realism. That realism wasn’t lost on her cast, either. Actor Jason Clarke plays a U.S. agent in the early stages of the film – and one scene calls for him to interrogate a prisoner using the controversial method of waterboarding. Clarke subjected himself to a real-life waterboarding to gain insight into what was going on. Website Showbiz 411 reports that the actor told fellow star Jessica Chastain that he tried it out “and I can tell you, it’s not something you ever want to do. But I wanted to understand the experience.” That’s some pretty crazy method acting. Would you be willing to endure these kinds of things for a role? How excited are you to see Zero Dark Thirty? Let us know below. Categories: Zero Dark Thirty, Kathryn Bigelow, Mark Boal, Jason Clarke Which one of these people is in the movie Triple 9?

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Goose Creek tattoo artist competes on Spike TV’s ‘Ink Master’ Monica Kreber/Gazette Emily Elegado works on the intricate roots of a tree on customer Matt Felton's leg. Emily Elegado and Aaron �Is� Michalowski are rivals on the upcoming fifth season of �Ink Masters.� Goose Creek resident Emily Elegado has been �on vacation� for much of the summer ... She did not announce where exactly she was going, however, and simply told friends she would be back home around August.Elegado�s actual reason for leaving was to shoot the upcoming season of �Ink Master� in New York.Elegado was one of 18 contestants vying for a $100,000 cash prize, an editorial feature in �Inked� magazine and the bragging rights title of �Ink Master.� The show, now in its fifth season, airs on Spike TV. The upcoming season starts Sept. 2 at 10 p.m.The format of the show is like �Top Chef,� except for some of the country�s top and up and coming tattoo artists. However, season five of �Ink Master� comes with a twist: each contestant is coming into the competition with a personal tattoo rival.For Elegado, that rival is Aaron �Is� Michalowski, a tattoo artist from Tampa, Fla. He did guest spots at a tattoo shop she worked at in Panama City, Fla.�He always just kind of rubbed me the wrong way, and I didn�t really appreciate the way he treated the industry,� Elegado said. �He kind of made a joke out of a lot of things.�In April Elegado received a phone call from the producers of �Ink Master,� who said Michalowski had called her out as a rival of his, and the producers asked if she would be up for the challenge on the show.�I consider myself a very talented tattoo artist, so I was very willing to prove that on a national competition,� she said.Elegado has been a tattoo artist for six years. She works as a tattoo artist at Roses & Ruins Tattoo in Summerville, where she has been for 18 months. She previously worked at a tattoo shop in Charleston, and before that she was in Florida.Because the show hasn�t aired, Elegado is not allowed to reveal too much about the competition, but said the experience was intense.�No doubt about it � the most stress, the most insanity,� she said. �It was 18 people including myself living in a two-bedroom loft with two and a half bathrooms. We all had beds and everything but it was like living in a hostel, for sure.�On the show contestants go head-to-head with their rivals, but the goal is to be the last tattoo artist standing so all the contestants are essentially pitted against each other � thus there is a lot of fighting.�Competition makes you crazy,� Elegado said. �I�m a very nice person, I think you can ask anybody; I�m very easy to get along with, but when it comes down to $100,000 I can fight like an angry bear, and I fought as hard as I could on that competition, and I think people are going to definitely see that.�Contestants participated in challenges that tested the artists� technical skills as well as their creativity. They faced a panel of judges that consisted of Dave Navarro from �Jane�s Addiction,� tattoo artist Chris Nunez from �Miami Ink� and tattoo artist Oliver Peck from Elm Street Tattoo in Dallas, TX.All Elegado has seen of the footage is what has been posted online.�I look pretty mean,� she said with a laugh. �There weren�t a whole lot of friendships to be made � that�s not what I was there for, I was there to win a competition. I went in there, guns blazing, ready to rattle.�I guess when you get into people�s faces and tell them things they are not used to hearing you don�t make a whole lot of friends. No one was really safe.�A contestant will be eliminated on every episode. There are a total of 16 episodes including the live finale that takes place in December.�I was fighting for my career, for $100 grand that I could probably use,� she said.Regardless of the outcome Elegado feels she grew from the experience. Looking back, if Elegado had a chance she would do the show all over again.�I definitely learned a lot about tattooing,� she said. �Tattooing is one of those industries where if you don�t learn something new every day, you�re not putting the effort into it that you should be.�I learned a lot about people, and who you can trust and who you can�t,� she said. �I learned a lot about what I was capable of as a person � because, five years ago, I never would have thought I would be able to go through that stressful of a situation. It definitely made me grow as a person.�Elegado sports a lot of tattoos, including a sleeve on her left arm and more art on her right arm, neck, feet and knuckles.�When I first started tattooing I was really excited that I could turn people into walking private museums of my work,� she said. �The further I get in my career, it�s more making people happy. So many people come in with heartache stories or tattoos that they absolutely hate and want gone. Being able to cover something, or to memorialize something, or just to make someone feel good about themselves � that�s way more rewarding than people knowing I�m a tattoo artist.� Latest Videos

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Bob Hoskins, Veteran Actor Who Starred in Who Framed Roger Rabbit?, Dies at 71 Terry O'Neill/Getty British actor Bob Hoskins, whose varied career ranged from Mona Lisa to Who Framed Roger Rabbit?, has died at the age of 71. A family statement released Wednesday by agent Clair Dobbs said Hoskins died in a hospital after a bout of pneumonia. His wife, Linda, and children – Alex, Sarah, Rosa and Jack – said: "We are devastated by the loss of our beloved Bob." A versatile character actor capable of menace, poignancy and Cockney charm, Hoskins appeared in some of the most acclaimed British films of the past few decades, including gangster classic The Long Good Friday. In 2012 Hoskins announced that he had been diagnosed with Parkinson's disease and was retiring from acting. PHOTOS: Tributes: The Stars We've Lost The Latest

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TV News TV Listings TV On Demand Soaps Watchlist Magazine Win Follow us on Doctor Who: Ice Warriors confirmed to return in a new story by Mark Gatiss Executive producer Caro Skinner reveals that the classic monsters will make their TV comeback later this year Classic monsters The Ice Warriors will make their return to Doctor Who this year in a new episode of the BBC sci-fi drama written by Mark Gatiss. Since first battling Patrick Troughton in 1967, the Warriors have appeared in six serials but haven’t been seen since 1974’s The Monster of Peladon. But now, after almost 40 years, Doctor Who’s executive producer Caro Skinner has revealed that they’ll be making their comeback in a new story set inside a submarine. “We've got the most fantastic episode by Mark Gatiss where we are bringing back the Ice Warriors on a submarine," she told SFX. "We wanted to bring them back because they're wonderful. In the mix of stories that we were planning for this year it felt as if doing something very bold with a monster that hadn't been seen for a while would be really cool. "Mark is an enormous fan of the Ice Warrior stories and came up with the idea. The sense of a monster of that scale and that size trapped in a really small, contained environment such as a submarine was a really brilliant story to be able to tell. "They were such a beautiful original design, and are genuinely really scary in terms of what they look like as they're coming towards you in that armour." The Ice Warriors will make their comeback in the third episode of the new series of Doctor Who after the show returns to TV on Saturday 30 March. Unlike the Daleks or Cybermen, the Martian Ice Warriors haven’t always been villains in Doctor Who and were featured as neutral characters in the two 1970s Jon Pertwee serials The Curse of Peladon and The Monster of Peladon. If you’d like to learn more about the Ice Warriors’ past appearances in Doctor Who, read our guides to the stories in which they appeared: The Ice Warriors (1967), The Seeds of Death (1969), The War Games (1969) , The Mind of Evil (1971), The Curse of Peladon (1972) and The Monster of Peladon (1974). Here’s a clip of The Ice Warriors in action in their eponymous debut story from 1967: | Jon Pertwee Who is the Doctor Who companion in this year’s Christmas special? The 14 sneakiest Doctor Who video game Easter Eggs

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Roger Ebert has attended international film festivals and events for almost half a century, from the Kolkata International Film Festival to the Academy Awards. In addition to his coverage, our contributors report the latest from Cannes, Telluride, Toronto, Sundance and other movie showcases world-wide. No pain for "Hurt Locker," Bigelow HOLLYWOOD — "The Hurt Locker," a film that was made with little cash but limitless willpower, defeated the highest-grossing film in history and won the best picture Oscar here Sunday night. The director of the spine-chilling war drama, Kathryn Bigelow, became the first woman to ever win the best director Oscar. James Cameron, director of "Avatar" — and her former husband — cried all the way to the bank. In what was expected to be a close race, "The Hurt Locker" took an early 4-3 lead and then pounded home with the best director and picture Oscars for a total of six. Its best film editing award correctly predicted the best picture winner, as it historically does. The three wins for "Avatar" came in the technical categories, as expected, including cinematography — not expected, since so much of the film was created inside computers. The final totals included two apiece for "Precious," "Crazy Heart" and "Up." In presenting the historic award to Bigelow, actress Barbra Streisand, never Oscar-nominated for direction herself, said, "Well, the time has come," after opening the envelope. Bigelow did it, I believe, because she quite simply made the best film: The tension generated by the film was extraordinary. Yes, situations involving defusing bombs are common enough, but somehow Bigelow made the bomb scenes human, not technical. Perhaps that was the woman in her? Bigelow thanked writer Mark Boal "for risking his life" in researching the script. Only 29 when she started, Bigelow has been a masterful action director from the get-go, with "The Loveless," "Near Dark," "Blue Steel" and "Point Break" between 1982 and 1991. Ever since, her career has been a triumph over preconceptions. Sandra Bullock, an A-list star recently found in B-list roles, won the best actress Oscar for "The Blind Side." She teared up in thanking her late mother "for not letting me ride in cars with boys until I was 18 because she was right. I would've done what she said I was gonna do." It was a busy weekend for Bullock, who Saturday night accepted the Razzie Award as the year's worst actress for "All About Steve." Jeff Bridges raised a yell from the audience when he won as best actor for "Crazy Heart." Thirty-eight years ago, he was nominated for his first major feature role for "The Last Picture Show" (1972). Sunday night, he collected on the fifth. He saluted to his parents, especially father Lloyd, "who taught me the basics of acting. Thank you, Mom and Dad, for turning me on to such a groovy profession." The movie came out of nowhere in December to pick up all the major critics groups' awards and then steamrolled over early favorite George Clooney ("Up in the Air") to win. Somehow this was the time for Bridges, once described in a New York Times cover story as "the best unknown star in Hollywood." A mighty roar went up when Mo'Nique was named best supporting actress. She played the crude, abusive mother in "Precious." She thanked the academy for proving "it can be about the performance and not about the politics." And she also thanked Hattie McDaniel, the first black Oscar winner (for "Gone With the Wind"), "for enduring all she had to, so that I would not have to." At that time, the Oscars were announced at an academy dinner, and McDaniel was required to sit at a table by herself. Mo'Nique's win was almost universally expected, but popular because this was her first major role and she stunned audiences with her power. Portrayed throughout as a vile monster, she has a monologue in which she haltingly explains herself, and we realize we are looking at a victim of exactly the abuse she was passing on to her daughter. Christoph Waltz was gobsmacked when he won best actor at Cannes in May 2009, and he was still astonished here when he won the supporting actor Oscar. It is his performance, more than any other, that distinguishes Quentin Tarantino's "Inglourious Basterds," and in effect, he's the leading man. "Quentin with his unorthodox methods of navigation, this fearless explorer, took this ship across and brought it in with flying colors, and that's why I'm here," Waltz said. "This is your welcoming embrace, and there's no way I can ever thank you enough." "The Hurt Locker" began its successful evening with its Oscar for Boal's original script. Its construction was indeed original, depending as much on external suspense as on our tension about what the hero, the bomb disposal expert James, was capable of. The adapted script Oscar went to Geoffrey Fletcher for "Precious," in an upset, since Jason Reitman's "Up in the Air" was thought to be the front runner. In a highly emotional speech, Fletcher dedicated the Oscar, as the film was also dedicated, to "precious girls and boys everywhere." "Up," a film so good it was also nominated for best picture, won for best animated film. Director Pete Docter of Pixar spread the credit in his acceptance speech, but he led the charge to change perceptions of animated films, and "Up" transcended categories to reach adults without kids as escorts. "The Cove," produced by actor and Chicago native Fisher Stevens, won the best documentary Oscar. A thriller in the documentary format, it was about a dangerous attempt to film Japanese fishermen as they lured, entrapped and murdered dolphins. From their opening monologue, co-hosts Steve Martin and Alec Baldwin were surprisingly unfunny. Their opening lines would have been funny delivered by one emcee, but having them do alternate reads from the prompter was a mistake. Nor did either one seem to really be speaking in the first person. One major drawback of having 10 BP nominees is that 10 film intros robbed us of five best song performances. There was an impressive live-and-film tribute to musical scores, on the big silver Art Deco stage of the Kodak Theatre. Director John Hughes was too great a legend to be simply included in the traditional "In Memoriam" tribute. The special clip package of his work stirred desires to see his films again. They seemed good at the time, and in these dreary days, they seem miraculous. As the stars he made — his "children" —strode forward, it became one of the greatest moments in Academy Award history. The traditional memorial montage was well accompanied by pop-music veteran James Taylor. Every year they forget someone. This year it was a very big someone: Farrah Fawcett. "Crazy Heart" won for best song, to nobody's surprise. It's a rare song written for a movie that actually sounds as if it could have been a big hit years ago in the hero's career. T Bone Burnett, a tall drink of water in dark shades, strode on stage with co-writer Ryan Bingham, but to general disappointment, I suspect, didn't say anything. A guy named T Bone wins an Oscar, you wanna hear him talk. In the craft categories, "Avatar" won for its art direction and production design, which was only right, since its designers essentially designed a new world and everything in it. "James Cameron," co-winner Rick Carter said, "this Oscar sees you." Cameron oversaw the exhaustive detail work on the creation and even the biology of that world. "Avatar" also won for visual effects — a foregone conclusion —over "District 9" and "Star Trek." The category also encompassed the film's 3-D presentation, which was central to its success. Lastly, "Avatar" won for cinematography, a choice I'm conflicted about. Wasn't much of the image creation done inside computers with CGI? Yes, the cinematographer had to fill needless scenes of actors before green screens, but the cinematography in "Inglourious Basterds" and "The White Ribbon" was so much more impressive. "Star Trek" won for makeup, in a category that also included only "The Young Victoria" and "Il Divo" — the latter a film in which you weren't supposed to notice the actor's makeup. Sandy Powell won her third costume design Oscar, after "The Aviator" and "Shakespeare in Love," for "The Young Victoria." She dedicated it to the costume designers of contemporary or low-budget films that are "not about monarchs." At the evening's end, there was joy that "The Hurt Locker" won, but it was sort of a letdown because the ceremony lacked excitement. The choice of hosts Baldwin and Martin, which struck me as inspired, turned out to be a miscalculation. In years past, did co-hosts alternate lines? Comic timing depends on one person's delivery, unless we're talking about a seasoned comedy team. The two never felt like a team, and apparently didn't have their lines memorized, which led to tiny but fatal delays. So much went as predicted. I correctly chose 15 of the top 17 winners, was wrong in both script categories and can hardly be faulted for thinking "Coco Before Chanel" would win for costume design. I have a feeling Vegas cleaned up from people believing this year couldn't be that easy to predict. Next Article: The Winners! They Outguessed Ebert Previous Article: Ebert's 2010 Oscar Predictions: Win that office pool with his help! Festivals & Awards RSS Festivals & Awards Archives The place for everything that doesn't have a home elsewhere on RogerEbert.com, this is a collection of thoughts, ideas, snippets, and other fun things that Roger and others posted over the years. More moviegoers see films on video in some form than ever before -- whether streaming on demand, cable or satellite, instant download services, DVD or Blu-ray. Even high-profile pictures become available to home viewers before or at the same time as their theatrical release. Reviewing them is a job for... The Demanders! Our Far-Flung Correspondents are cinephiles from all over the world, hand-picked by Roger Ebert to write about movies from their unique international perspectives. They include contributors from (alphabetically) Brazil, Canada, Egypt, Great Britain, India, Mexico, the Philippines, South Korea, Turkey and the U.S. They converge every year at Ebertfest. Since he started as film critic for the Chicago Sun-Times in 1967, and began covering movies locally and at international film festivals, Roger Ebert has met and interviewed countless movie idols, artists and unknowns -- some of them even before they became famous. There's hardly a major figure in the history of movies, from the last part of the 20th century into the 21st, that he hasn't encountered. "Life Itself," based on Roger Ebert's memoir and directed by Steve James, will open in theaters and be available On Demand on July 4, 2014. The Cannes International Film Festival is the most talked-about film festival of the year, where directors from around the world showcase their newest work, from the most challenging art cinema to the big blockbusters. For many years, Roger Ebert and a team of contributors have covered Cannes, and we are continuing that tradition with start-to-finish coverage from around the festival. A collection of tributes to Roger from various sources. The opening shot of a movie can tell us a lot about how to view and interpret what follows. It can even represent the whole movie in miniature. The Opening Shots Project collects illustrated analyses of some of Jim Emerson's favorites, and contributions from Scanners readers.

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| 11:32 p.m. June 17, 2012 Nicole Parker as Elphaba -- the Wicked Witch of the West -- in Wicked Share Photo✉-✉⎙Toto, we’re definitely not in Kansas anymore. Detour off the yellow brick road and dare to explore a different side of America’s favorite fairytale.Long before Dorothy’s coming-of-age adventures with Scarecrow, Tin Man and Cowardly Lion, two other young girls meet in the magical Land of Oz. Elphaba, a smart, fiery outcast born with emerald-green skin finds an unlikely friend in her college roommate Galinda, later Glinda -- the beautiful, popular blonde. One of Broadway’s biggest blockbuster musicals, Wicked explores the untold story of the witches of Oz. The Emmy Award-winning actress and comedian Nicole Parker brings the complicated character of Elphaba to life in the Broadway production of Wicked, which opens at the San Diego Civic Theatre on Wednesday. Known best for her work on MADtv, Parker fine tunes her funny woman ways on stage as the sardonic, misunderstood Wicked Witch of the West. Nicole Parker gives us a glimpse into her wicked role.Q: How do you prepare for the role of Elphaba?A: There is definitely a routine for surviving the role! Mentally I like to do some yoga and/or meditation, or walk on the treadmill. That takes care of you mentally AND physically. It quiets my brain and warms me up at the same time. Then I vocally exercise which is a slow process. I give myself plenty of time because every day is different, sometimes it takes your body longer to get on board. Last thing is to remind myself to tell the story. Right before I run out for my first entrance it's just a reminder to stay focused. And after that you just go on the ride!Nicole Parker+Read Caption Nicole Parker Share Photo✉Q: How is your personality off stage similar to or different from your character on stage?A: Well, at least with the younger act 1 Elphaba, I relate because I was kind of bookish and nerdy, and didn't always feel like I fit in. I was also very talkative and opinionated. I wore glasses, had a bad perm, etc... I was NOT a Glinda. So I definitely identify with Elphaba when it comes to being different, not mainstream, kind of an oddball. I used humor all the time to get through awkward moments or to survive amongst the cliques, much like Elphie uses humor to deflect her pain or anger. Nowadays, I think I still share her qualities of sometimes not letting people get a word in edgewise (ask my husband), a side effect of her/us being very passionate and sensitive. I do wish I had more of her courage and tenacity. But I certainly have got the nerd/outcast back story going for me. Q: What is your favorite scene in Wicked?A: It seems like a cheat, but this answer changes from time to time. One moment I always look forward to is the scene with Popular in it. It is the first scene for me in the show where things really slow down for a moment and we get to really see these two girls become friends. I love when Alli sings Popular, she is so funny and keeps it fresh every time. It's just a very enjoyable and special part of the show for me.Q: Memories of growing up watching Wizard of Oz?A: Absolutely. I remember it was such an event because the Wizard of Oz was only televised once a year. My sister and I were always so excited and it was always a family event. We made fresh popped popcorn every time and I was so happy when the opening credits would begin. It was so special, so that makes Wicked all the more special as well.Q: What are your back stage rituals?A: Oh, so many. The last time I did Wicked when I was in New York/Broadway, my husband got sent to the local grocery store for the same specific things so often that the checkout girls would ask,"When is she due?" I have all sorts of supplements and elixirs that I superstitiously believe keep me well: Wellness Formula, Entertainer's Secret, a spray I use, vitamins etc. I eat a steak on a two show day for the protein. There are certain cast or crew members I check in with at the same time every show, and that keeps me going!Q: Walk us through the makeup and wardrobe transformation.A: It is a surprisingly quick process. It takes about twenty-five minutes. It takes three people to do make-up, hair, and wardrobe, respectively. The green is applied with what looks like a paintbrush, we do my face and hands, and there is lots of powder involved so I don't make everybody that I touch green! My hair is pinned up under a nylon wig cap, then I wear two small body mics right on my forehead, and the Elphaba wig is fitted over those. After that we put the rest of the costume on and Elphie is ready to make her entrance!Q: In your opinion, why has Wicked become such a successful pop culture phenomenon?A: It's storytelling at its best. It's an accessible story that has a humanity that anyone can relate to, everyone can in invest in, and above all, the audience cares about these characters. There will always be someone out there in the audience who identifies with Elphaba, feels like the outcast, feels bullied, misunderstood. On the flip side, there will always be people who identify with Glinda, being popular, and misunderstood in their own way. People really respond to these women, their journey, their friendship, and it just resonates with audiences in a special way. Wicked's other incredible strength is that it is building on an iconic story, The Wizard of Oz. It is so embedded in our culture that most people come into the theater already having that backstory to build on, and there is already a nostalgia that touches an emotional core with them. It's visually and musically epic as well, which contributes to making Wicked a totally unique event.Q: When you’re not working, where can we find you?A: If I could choose to do anything would be going for a walk with my dachsund and my husband. In the summer his family spends a lot of time on the lake, wakeboarding and wakesurfing. So we do that. We love going to Hawaii to surf! I also perform improv at the Groundlings or UCB when I am in LA. I travel so much for work, that being home is unique!Q: What new acting projects are you working on this year?A: Some things are up in the air as of now so I can't say! I am always auditioning and it can take months for people to make decisions! I will be performing with Alli Mauzey (Glinda on tour) in several symphony concerts across the country starting in the fall. And I am always writing and developing new ideas! I would love to go back to Broadway!Q: The moment you knew you wanted to pursue acting?A: I grew up in Southern California in Irvine, and began taking acting classes for fun just like my older sister at South Coast Repertory's program for children. I was seven, and remember my first recital; I was singing a song, and I remember the audience's response, and I remember when I made them laugh. I was absolutely certain at that moment I wanted to do that forever. So I did several Young Conservatory Player's productions as well as main stage plays at SCR. I grew up in the theater. It is home to me. I continued performing throughout high school, and went to Indiana University for theater and voice. There I joined an improv comedy group, so my interests were varied. I did musicals, but also went to Chicago to learn how to write sketches and improvise. When I graduated, I got hired at a theater in Amsterdam called Boom Chicago, an all American theater in Holland that features a nightly sketch/improv show, much like Second City. I lived in Europe for two years, and learned so much. From that job, I had so many connections in the comedy world that even though I moved to New York to pursue musical theater, MADtv auditioned me and I got hired. That began another chapter in my life on Fox's sketch show that was so invaluable. Eventually I made it to Broadway with Martin SHort's one man show. I have been very lucky to have gained so much experience in two areas of entertainment that I equally love and enjoy.Q: Do you watch “Smash”? How is life on Broadway similar to / different from the characters and drama we see on TV?A: Of course I do! It's about a musical!! I also have so many friends on it, which is why it is so fun to watch. I would say the real drama behind the scenes of theater is sometimes even BETTER and crazier than anything on Smash! So yes, there are similarities. Of course they have dramatized certain aspects as you have to with any show because it needs to appeal to a mainstream audience, not just people who do theater for a living! There is most definitely competition in our industry, but it's not so in your face as it is on the show. When I show up to an audition and I see the usual girls I'm up against, everyone is always very friendly and respectful with each other, but inside everyone is thinking, "Oh crap, she's here? She's so good!!! There's no way I'll get it!" At least that's what I think sometimes! It's more under the surface, because it's not made for tv, people are more subtle in real life, although that's just my personal experience. But Smash portrays so many very real aspects of the business--the sacrifices, the disappointments, the rejection and the doubt, all of that is very real.Q: Do you visit San Diego often? What do you love about Southern California lifestyle?A: Of course! My sister went to UCSD and I used to visit her all the time. My family always used to go to the Hotel Del Coronado at Christmas time, and my husband was a Marine stationed at Coronado the first year we dated. So I have made the drive from LA to San Diego many, many times. I have so many great memories here. My husband proposed to me on the beach in front of the Hotel! I just love the laid back and relaxed, but active lifestyle of Southern California. It's so easy to live a healthy life here. The weather is so great, there is so much to do outdoors. Everyone is out, but the pace is easy. I also just love beach fashion. I don't know how many items I have from Roxy and Quicksilver but the number is high. I grew up on the beach, so for me, you can't beat a Pacific Ocean sunset.Wicked runs June 20 - July 15 at the San Diego Civic Theatre. For tickets and more information, visit broadwaysd.comMichelle Guerin✉More from Michelle GuerinSkrillex, Diplo to debut new projectSan Diego: This Weekend videoReady for a Yogathlon?

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Digital delivery: linking Europe 13 May, 2013 | By Neal Romanek A digital delivery network from Deluxe Digital Cinema and Hewlett-Packard aims to connect some 8,000 European cinemas. Neal Romanek reports. The UK’s Deluxe Digital Cinema, in partnership with Hewlett-Packard, is aiming to change European film distribution with a terrestrial delivery network that plans to connect more than 8,000 sites in the UK and Europe. The network will allow Deluxe to distribute on behalf of its clients — which include Fox, Sony, Paramount, Universal and others — directly to cinemas.“The real end goal was for electronic distribution that was terrestrial, as opposed to physical, ie, hard drives,” says Richard Fish, commercial director at Deluxe, “and it couldn’t cost any more than current delivery mechanisms. At the end of the day, getting a hard drive to site has proven to be cost effective and efficient, so to bring a new solution to market means we have to work within the boundaries of what it currently costs the distributor and the size of the file they can move by satellite or by hard drive.”The new network will be able to deliver a 500GB digital cinema package (DCP), with average connectivity of 50MBS. “We can deliver a terabyte too,” Fish says, “but that will just take a little bit longer.”Deluxe managing director Ken Biggins and digital cinema managing director Peter Wright had championed the idea of a digital distribution network for some years, but the technology was too expensive and too slow. When the right combination of fast speed and low cost arrived, Deluxe approached Hewlett-Packard. “We had quite a detailed cost model when we went into negotiations with Hewlett-Packard,” says Laurence Claydon, technical director at Deluxe. “They came back to us and that opened a few more doors than we expected. It made something that was a near-possibility into a reality.”Deluxe is being aggressive in rolling out the network. With the help of Hewlett-Packard’s field engineering and support teams, the company aims to be connected to 6,000 sites over the next 24 months, beginning with the UK and France then spreading to other European territories. Deluxe admits it is asking a lot of European telecommunications companies. Claydon says: “We need this network to be what the internet will be in about 10 years’ time, but we need it now.”Hewlett-Packard has a long track record of involvement with telecoms and content delivery network providers and was a natural partner choice for Deluxe. With the company’s help, Deluxe is riding on the next generation of broadband roll-out across Europe, choosing the sites where they can get the best connectivity and piggy-backing on these new deployments as they happen.Claydon says the Deluxe-Hewlett-Packard network will be far greener than current hard-drive distribution: “At the moment, we’re still shipping hard drives in vans and ships and planes. Ultimately, it will reduce the carbon footprint of feature film distribution, which will be welcomed by everyone. Electronic distribution via a network will only get cheaper and faster, whereas fuel prices are going to keep rising.”Tailored to local markets With hard drives and satellite, distributors need to deliver to a minimum number of sites to make the unit cost viable. The point-to-point nature of the Deluxe network will allow for greater localisation and flexibility without the number of screens on which a film runs being any financial barrier.Claydon thinks the network will lower the cost of entry to many independent and local films. “Because we’re putting together a European network, a lot of it will be based on local content for each territory, so we’ve partnered with vendors in territories, like Eclair in France, to increase volumes, making the network financially viable. In a lot of territories we distribute in, local content is a significant portion of the market.”Fish agrees the network will allow exhibitors to target local audiences more successfully. “If your cinema is in a seaside town, for example, over certain seasons you could target certain demographics coming in. A cinema could run different themes — films from the ’60s or ’80s or an animation season during school holidays. It will certainly allow exhibitors more flexibility, but our main aim is to distribute more efficiently on behalf of content owners.” ScreenTech: The return of film Digital’s phase two Inaugural UK Digital Cinema conference assesses the state of digital cinema Cannes Classics line-up revealed; Costa-Gavras guest of honour Deluxe Connect set for Germany trial Commensurate with local ex-pat rates Researcher Competitive CONTENT SERVICES TECHNICIAN - NIGHTS £24,775 - £27,864 per annum Find more jobs

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2016-36/0813/en_head.json.gz/2434

Wasabi is on-air Wasabi is sad his revolution failed. But one day... Want to hear something in particular? Then request it from the on-air dj.Start by typing in the artist: About Split Infinity Radio Tweets by @siradio by Chaotica Summer Movies Need To Come Sooner There are a couple of movies coming up soonish that I am vaguely interested in seeing. Honestly, the sequels and rehashes just have me feeling pretty blah about the whole movie industry in general at the moment. But let's not kid ourselves, the good stuff comes out during the summer, and that's what I am taking a look at to ignore the slop that's out at the moment. Screw you March and April movies. You do not exist. Iron Man 3 - May 3I love Robert Downey Jr as Tony Stark. Just seeing him on the screen makes me grin. This movie shows Iron Man floundering after the events of The Avengers. It also is the introduction of The Mandarin, one of the big bads from the comic series. The one thing I have seen so far in these ads that has sat wrong with me is Rhodes in the "Iron Patriot" suit. I don't particularly like the character much, and frankly him in one of those suits just bothers me. Don't get me wrong, I'm still going to see this, but I am prepared to be irked. Oh, and a new trailer is coming out on March 5, 2013.Star Trek Into Darkness - May 17I'm not going to lie to you, I am fangirl squee factor 10 excited for a new Star Trek movie. It looks dark, gritty, and completely different, which the franchise has needed for a bit. Something a little off center to bring you back around in the end to what the core ideals of that universe are about. Benedict Cumberbatch is the villain of the film, John Harrison. People have been wildly speculating that he was Khan, or some kind of rebooted Khan for a while now. There was also a lot of internet speculation about Carol Marcus being in this film, and if she and Kirk will hook up again. Needless to say, I will be there. The trailer, if you've somehow managed to miss this: After Earth - June 7I freely admit to having a Will Smith problem. He is not what I would call a typical action hero type, but he just rocks it somehow. This movie is set a thousand years after humanity had to escape Earth after a disaster to a planet called Nova Prime. Will Smith plays a general who is away from home frequently, coming back to his son, played by his own son, of course. They end up being whacked by an asteroid storm and crashing down on the now dangerous Earth. This is where the "unfortunately" starts coming into play, because Will Smith is dying and the story will follow Jaden's character. It's also directed by M. Night Shyamalan. This might be one Smith project I pass on with the mostly miss nature of most of Shyamalan's recent projects.Man of Steel - June 14 The trailer: The world needs another Superman reboot movie like it needs an infestation of termites. Personally, I don't particularly like the character of Superman. I find him to be an uptight Boy Scout who needs to realize that the world is shades of gray, and not black and white. The trailers I've seen so far don't really seem to indicate this movie will really be anything other than more of the same. The first thing I thought when I saw the Superman suit was, "Hey isn't that Thor's outfit?" Pacific Rim - July 12The story line posted for this movie directed by Guillermo del Toro details a group of creatures rising from the sea to start a war that consumes humanity's resources. They construct giant robots called Jaegers that are controlled by two pilots mind locked in a neural bridge. They don't seem to help unfortunately, and with humanity losing badly, two scrubs will come forward to pick up a supposedly obsolete Jaeger to fight once more.I'm not going to lie here, I'd never even heard of this before researching for this article. There's just something fun about giant mecha movies.The Wolverine - July 26The Wolverine director James Mangold said the film is actually a sequel to the last ensemble X-Men film. As Mangold said, "Where this film sits in the universe of the films is after them all. Jean Grey is gone, most of the X-Men are disbanded or gone, so there's a tremendous sense of isolation for him." I'd link a trailer, but there doesn't appear to be one. This makes me mildly scared. Ok, the fact they're making another solo Wolverine movie makes me scared. The first one isn't exactly what I would call awesome, so I'm already skeptical going in on this one. Allegedly the trailer will start popping up at the end of March, but really, considering the other movies already pumping out media hype for summer movies, the lack of trailer is making people twitchy.The official synopsis is: Based on the celebrated comic book arc, this epic action-adventure takes Wolverine, the most iconic character of the X-Men universe, to modern day Japan. Out of his depth in an unknown world he faces his ultimate nemesis in a life-or-death battle that will leave him forever changed. Vulnerable for the first time and pushed to his physical and emotional limits, he confronts not only lethal samurai steel but also his inner struggle against his own immortality, emerging more powerful than we have ever seen him before. Elysium - August 9 Another movie I hadn't heard of, this one has Matt Damon and Jodie Foster in it. It's set in 2159 where the very rich live on a man made space station called Elysium and the rest live on an overpopulated, ruined Earth. Foster is a douchebag politician who tries to stop any poor people from getting in, and of course, they try. Damon is a sap that gets screwed into taking a no-win mission to bring some equality to the people. It's tagged as sci-fi, but that synopsis makes me think it's more of a human rights or equality story. To be honest, I am left with a feeling of "haven't I seen this movie before?" after reading about it. It's entirely possible I've just read too many books with this kind of a story line, who knows. Nerd Fail... Other potential movies of interest that are coming out this summer include World War Z based on the book, Kick-Ass 2, Riddick, and 300: Rise of An Empire. I haven't read World War Z, I didn't watch Kick-Ass, I haven't watched any of the other Riddick movies, and I didn't watch 300, so I don't feel particularly like I have enough information to say anything about these other than they're coming. Suicide Squad: The Review Star Trek Review Unlikely Gaming Movies Announced Massive Star Wars Reboot Project Announced More Movie Trailers To Excite You X Men Apocalypse - The Trailer Marvel Civil War - The Trailer The WoW Movie Trailer is Finally Here! Is This The WoW Trailer We've Been Waiting for? What Happened To Captain America?

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Explore categories + Festivals (1010) Links for the Day (1235) TV (1006) Doctor Who Recap Season 7, Episode 1, "Asylum of the Daleks" Steven Cooper Opening a new season with the Daleks—pitting the Doctor against his oldest and most famous adversaries—has always been a temptation for the producers of Doctor Who. The audience-grabbing potential is so obvious that this is actually the fourth time it's been done in the show's history. “Asylum of the Daleks” also gives showrunner Steven Moffat his first chance to write a Dalek story, having deliberately rested the creatures last year—the first season since the show was revived in 2005 that the Daleks were not used (except for a one-scene cameo in the finale). Without the additional pressure of introducing a new Doctor or companion, or setting up a season-spanning arc plot, Moffat's season opener is a successful standalone adventure with several touches of horror that call to mind his earlier efforts during the Russell T Davies era. A sombre mood is set from the outset as the episode opens on Skaro, the blasted, ruined homeworld of the Daleks. Inside a giant statue of a Dalek (“Hell of a choice of meeting place.” “They said I'd have to intrigue you”), the Doctor (Matt Smith) has come to meet a woman, Darla (Anamaria Marinca), who wants him to rescue her daughter from a Dalek prison camp. As we saw in last year's Christmas special, the Doctor is now determined to keep a low profile following his escape from the Silence's attempt to kill him, and so he is not pleased that this woman has somehow managed to get a message to him. Darla: “They say you can help.” The Doctor: “Do they? I wish they'd stop.” But he soon discovers that the whole thing is a trap—the woman is a Dalek agent, sent to capture him. Her human personality vanishes as a Dalek eye-stalk erupts from her forehead and a Dalek gun from her hand. The idea of the Daleks employing controlled humans as slaves is certainly not new (it goes back as far as the 'Robomen' in 1964's “The Dalek Invasion of Earth”), but it's never before been shown in such a creepy and graphic fashion. On board a huge Dalek ship, the Doctor is reunited with his erstwhile companions, Amy (Karen Gillan) and Rory (Arthur Darvill), who have been collected from their lives on Earth by other Dalek agents. They find themselves in the “Parliament of the Daleks”—a massive amphitheatre filled with hundreds of the creatures, all chanting the last thing the Doctor expected to hear—“Save us! Save the Daleks!” It was rather amusing to see that, after the poor reception given to the “new paradigm” Daleks introduced in 2010's “Victory of the Daleks”, they are very much in the minority here. The Parliament chamber is populated almost exclusively with the older bronze models, although the few representatives of the new design we see appear to have been given a face-saving officer status. In any case, the setup for the main story follows, as we learn of the Daleks' legendary Asylum—a planet where the Daleks dump all their failures: “the battle-scarred, the insane…the ones even you can't control.” The Daleks have gone to the trouble of kidnapping the Doctor because the supposedly impenetrable Asylum has been breached. In a deliberately disjointed scene (typical of Moffat) after the opening titles, we see a young woman named Oswin, apparently alone and under siege in the Asylum, who identifies herself as a crew member of a spaceship that crashed on this planet. She has been hacking into the Asylum's systems and disrupting them. Realizing that this could open a way for all of the inmates to escape, the Daleks intend to beam the Doctor, Amy and Rory down to the Asylum, where they will be trapped until the Doctor can turn off the planet's protective force field, allowing the Daleks to vaporize it. I enjoyed the confrontation between the Doctor and the Dalek “prime minister”—a wizened creature in a glass tank very similar to the one seen as the “Emperor Dalek” in 2005's “The Parting of the Ways”—in particular, the designation of the Doctor as “the Predator of the Daleks,” and the following exchange: The Doctor: “You think hatred is beautiful.” Dalek Prime Minister: “Perhaps that is why we have never been able to kill you.” It's also worth taking a moment to give credit to the contribution of Nicholas Briggs, who has single-handedly provided the voices for all of the Daleks (as well as the Cybermen, and various other aliens) since the series was revived in 2005. His ability to create different characters for the various different types of Daleks is, I think, a very significant factor in the success the creatures have had in the new series. As they are beamed down to the planet, Rory gets separated from the others, falling down a deep hole into a large underground chamber, while Amy and the Doctor encounter Harvey (David Gyasi), apparently another survivor from the crashed spaceship. At this point Moffat rolls out an effective string of horror movie ideas, as Harvey takes the Doctor and Amy back to his escape pod, only for them to realize that his fellow crewmates are long dead…whereupon Harvey realizes that he's actually dead and has become “Dalek-ised” (just like the woman Darla) by the Asylum's “nano-cloud” which transforms all intruding organic matter into Dalek material. Then, no sooner have the Doctor and Amy fought Harvey off than his zombie crewmates rise up and threaten them in the same way. Moffat could be accused of recycling his previous concepts here—the nano-cloud is basically the same as the nanogenes from “The Empty Child,” and the idea of the walking corpse, unaware of its own death, harks back to the skeletons in spacesuits from “Silence in the Library”. But it's certainly a nicely macabre idea that anyone attacking the Asylum gets absorbed into its own security system. In order to protect against the effects of the nano-cloud, the Doctor and his friends are given special protective wristbands. These represent a rare failure in the design department—they are so large and bulky that Amy is left looking incredibly stupid on two occasions, when she fails to immediately notice that the attacking zombies have taken her wristband off her arm, and again later when the Doctor sneaks his own wristband onto her. The direction by Nick Hurran lives up to the high standard he showed on his debut last year with “The Girl Who Waited” and “The God Complex”. From the impressive CGI of the Parliament chamber, to the contrast between the vast snowy expanses of the planet exterior and the cramped, dingy underground tunnels infested with Daleks, the episode is full of memorable visuals. In particular, there's a lovely bit of dreamlike imagery when Amy, falling under the influence of the nano-cloud, sees a roomful of people, including a twirling ballerina, which then becomes a roomful of Daleks, with the ballerina replaced by a Dalek spinning serenely in place. Once the Doctor and the others are all underground, they have the problem of finding each other in the maze of corridors and chambers while avoiding getting killed by the mostly dormant but still dangerous Daleks. It was lovely to see many of the older Dalek designs from the classic series in these chambers (although some of them were a little difficult to make out under the layers of grime). I also particularly enjoyed the neat trick the Doctor employed to use one Dalek's self-destruct impulse to take out the others. Meanwhile, Rory is doing his best to keep out of the Daleks' way, although eventually he has to be rescued by the watching Oswin. Which brings me to the big surprise of the episode… It didn't take long before I realized that Oswin was being played by Jenna-Louise Coleman, who (as was announced months ago) will be portraying the Doctor's new companion Clara, starting from this year's Christmas special. I can only congratulate Moffat on managing to pull off this surprise, which required the co-operation of the press and preview audiences in several different countries. Particularly ingenious is that the trick succeeds regardless of whether the viewer is aware of Coleman's significance—for those who don't know that she is scheduled to become the next companion, the surprise will come at Christmas when the Doctor meets someone who reminds him so much of the woman he encountered in this episode. It remains to be seen whether there is any real connection between Oswin and the new companion, or whether they are simply being played by the same actress (as happened with Karen Gillan, who played a soothsayer in “The Fires of Pompeii” two years before she appeared as Amy). It's worth noting that, unlike Gillan's case (and earlier, with Freema Agyeman), Coleman's role in this episode would only have come about after she was cast as the new companion. So despite Moffat's stated intention to move away from last season's complex arc plotting, there are clearly still some connections being established between episodes. As if to remove all doubt on this point, Coleman gives a coy little glance directly into the camera as she delivers her final line: “Run, you clever boy. And remember…” As for her actual performance, I was very impressed. She's a natural at handling Moffat's comic dialogue, and her flirting with Rory and fast-talking banter with the Doctor was a delight. At the same time, she managed to project enough confidence and intelligence to make Oswin's labeling of herself as a “genius” believable. And when given the chance to emote more deeply, as Oswin's ultimate fate is revealed, she was well up to the task. I've never seen any of her work before, but based on this episode, I'm very much looking forward to her joining the show permanently later on. But enough about the companion-in-waiting; the relationship between the Doctor's current companions is the second major focus of this episode. The first five episodes of this season, leading up to a hiatus before the Christmas special, will bring the story of Amy and Rory to a close. In fact they are already partly out of the Doctor's life—their days as permanent travelers aboard the TARDIS ended in last year's “The God Complex,” and each episode since has faced the challenge of finding a way to involve them in the story. Here, they are collected by the Daleks to accompany the Doctor on the frankly flimsy justification that “it is known that the Doctor requires companions.” It's soon apparent that Amy and Rory's marriage is more than in trouble; when we first see them, they're actually signing divorce papers while exchanging barbed insults. Once on board the Dalek ship, Amy is annoyed at the realization that the Doctor will inevitably notice the distance between her and Rory and try to do something about it. In a stark contrast to her dreams of her magic Doctor when we first met her two years ago, she now dismisses his desire to help: Amy: “Don't give me those big wet eyes, raggedy man. It's life. Just life. That thing that goes on when you're not there.” When Rory realizes that Amy has lost her protective wristband and decides to give her his to buy her some time, they finally confront the cause of their split. We find out that thanks to her experiences on Demon's Run, Amy can't have the children that she knows Rory desires, which has led to her pushing him away. Both Karen Gillan and Arthur Darvill are excellent throughout the episode—having played these characters for so long now, they really know how they tick—and this scene is very emotional, thanks in particular to Gillan giving it absolutely everything. Unfortunately, it loses some of its effectiveness simply because there has been no hint whatever of this plot thread before now. I'll admit it was a nice touch to show nothing more than a quick, wordless shot of the Doctor simply straightening his bow tie when Amy discovers he has put his wristband on her—a callback to her earlier annoyance on board the Dalek ship; nothing more is needed to get across the point that he has maneuvered them into confronting the problem. I really hope that this isn't the last we hear of Amy and Rory's marital difficulties, though; such a quick solution to a dispute that went all the way to a formal divorce would be far too glib. At any rate, while Amy and Rory are working through the repairs to their relationship, the Doctor continues making his way towards Oswin's refuge. Moffat's inventiveness continues with the idea of the “Intensive Care” area containing the Daleks which have personally survived previous battles with the Doctor, which allows him to have Oswin name-check various planets from the classic series (Spiridon, Kembel, Aridius, Vulcan, Exxilon) for the enjoyment of long-term fans. In a lovely bit of plotting, the Doctor's repeated “Where do you get the milk?” question to Oswin's mentions of making soufflés turns out to be more than just a bit of whimsy—it signposts the solution to the mystery of Oswin's true nature. (On the other hand, I found the several “Eggs-terminate” puns to be painfully corny.) When the Doctor finally enters her chamber, he discovers not the woman we have been watching, but a chained up Dalek that still dreams of her human life. Matt Smith is especially good here, showing the pain in the Doctor's face as he gently explains to her what has happened. The potent image of a Dalek breaking free from chains (first used in the memorable 2005 episode simply titled “Dalek”) is used as the story reaches its climax, with Oswin managing to help the Doctor achieve a victory despite her own fate. Earlier, she had saved the Doctor from the Daleks in the Intensive Care area by hacking into the Daleks' database and deleting their knowledge of him. Now, she drops the Asylum's forcefield and the Daleks above wipe out the planet as planned, but the Doctor and his friends are teleported back up to the ship, into the TARDIS. The Doctor emerges, and discovers to his delight that the Daleks no longer recognize him—Oswin's deletions have reached even here (and possibly to all Daleks everywhere). Oswin-Dalek: “We have grown stronger, in fear of you.” The Doctor: “I know—I tried to stop.” Realizing that the endless conflict with the Doctor was actually helping the Daleks, Oswin has managed to break the cycle. It's an unexpectedly happy ending, in keeping with the now reconciled Amy and Rory cheerfully waving goodbye as the Doctor drops them off back on Earth—not only is the Doctor given the chance to extend his newly-desired anonymity, he doesn't have to keep re-fighting the great Time War which has loomed over him for so long. No doubt there will be more clashes with the Daleks in the future, but for the moment the Doctor no longer has to be “the Oncoming Storm,” the “Predator of the Daleks.” No wonder that the final shot is of him giddily dancing around the TARDIS console, on the way to all-new adventures. Next Week: In keeping with Moffat's declared preference for stand-alone, “movie of the week” episodes this year, we have the Doctor Who version of Snakes on a Plane: it's time for “Dinosaurs on a Spaceship.” Classic Who DVD Recommendation of the Week: “Remembrance of the Daleks,” starring Sylvester McCoy and Sophie Aldred, kicked off the twenty-fifth season of the classic series in 1988. The Special Weapons Dalek which made a very memorable impression in this story can actually be seen in “Asylum of the Daleks,” among the group of Daleks which wake up and attack Rory. It's a fast-paced, densely plotted story which shows the classic series attempting something different with the Daleks, and is well worth checking out. For more Doctor Who recaps, click here. david gyasi Game of Thrones Recap Season 6, Episode 10, "The Winds of Winter" Aaron Riccio The season finale of Game of Thrones focused almost exclusively on how big shifts in power affect the characters we know the most about. Game of Thrones Recap Season 6, Episode 9, "Battle of the Bastards" The power of the latest episode of Game of Thrones is that it leaves nothing to abstraction. BAMcinemaFest 2016 Ti West’s In a Valley of Violence Chuck Bowen Ti West’s methodical austerity yields in this film the most powerful passages of his career. Aarchman07030 - I'm a few days late in responding, but I couldn't let your lovely comment go by without a reply. Thank you very much for the compliments--it's very gratifying to learn that people are enjoying the recaps. Not to mention getting a kick out of finally putting all that repeated watching and obsessing over Doctor Who back in my misspent youth to some practical use... :) Posted by Steven Cooper on 2012-09-25 15:59:12 I've been reading your reviews faithfully for the last several seasons of Doctor Who, and I want to add my voice to the legions who appreciate your thoughtful analyses, graceful writing and seemingly peerless knowledge of Who arcana. Reading your articles adds an entire dimension to the Doctor Who experience for those of us unfamiliar with Classic Who and all of it's myriad memes, story arcs etc. You are essential reading for anyone looking to fully appreciate and enjoy Doctor Who--thanks a million for all the good work! Posted by Aarchman07030 on 2012-09-22 02:17:49 Yes, I think the law of diminishing returns has definitely set in with regard to seeing hordes of CGI creatures on screen. When a huge force of Daleks first appeared, in Christopher Eccleston's season finale, it was an amazing spectacle the show had never had the resources to accomplish before. (A bit different to the old days, when they sometimes had to resort to cardboard photographic blow-ups in the background to fill out their armies of Daleks!) Now, it's just old hat. And suchanoodgirl (love that name, by the way)--thanks very much for your comments. It's great to know people are enjoying the recaps. SAVE US, DOCTOR. Me again. I was wondering what you guys had to say about how Darla's (Dalek-Darla now) daughter, Hannah's imprisonment went unresolved? I mean, yes that was the story used to lure in the Doctor, but it did seem that there was a Hannah and she was in the hands (stalks) of the Daleks. Posted by suchanoodgirl on 2012-09-04 22:43:40 Maybe it's just me, but I find a single Dalek more frightening and threatening than a bazillion Daleks; they're all just sitting there not really doing anything except twitching and blinking. When the Doctor was trapped in the intensive care, in a confined space, then it felt menacing (and Smith really let the fear show). Although, I must say that the sound of a bazillion Daleks screaming *is* pretty creepy. Posted by Anonymous on 2012-09-04 03:35:24 I am so glad you're back! Haven't even read this review yet, going to save it for lunch break at work tomorrow. But I'd been Googling to see if you were resuming your reviews for Series 7 since Saturday night after the premiere and panicked a bit when nothing new came up each time. But here you are! I actually started watching Doctor Who a few months ago, and halfway through, I discovered your reviews and found them absolutely delightful to read. It became kind of a routine, watching an episode, reading your review on it. You do a bloody well job of it! Anyway, so psyched you're back at it! x Every Pixar Movie, Ranked from Worst to Best Locarno Film Festival 2016: By the Time It Gets Dark, Mister Universo, Pow Pow, Rat Film, & More Game of Thrones Recap: Season 6, Episode 10, "The Winds of Winter" Watch Cate Blanchett’s Face Melt in John Hillcoat’s Music Video for Massive Attack’s “The Spoils” Locarno Film Festival 2016: Hermia & Helena, The Ornithologist, The Human Surge, and Scarred Hearts Cannes Film Review: The Handmaiden Tribeca Film Festival 2016: Mr. Church The Americans Recap: Season 4, Episode 13, "Persona Non Grata" Rihanna Reunites with Calvin Harris for "This Is What You Came For" Game of Thrones Recap: Season 6, Episode 1, "The Red Woman" Game of Thrones Recap: Season 6, Episode 9, "Battle of the Bastards" Watch Adele’s Kaleidoscopic Music Video for “Send My Love (To Your New Lover)” The Walking Dead Recap: Season 6, Episode 16, "Last Day on Earth" Fergie Drops New Single & Music Video for “M.I.L.F. $”

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Desperate Housewives Cast: Then & Now As the series ends its eight-year run on May 13, 2012, see how the women of Wisteria Lane have changed Harriet Sansom Harris - Now To seek revenge on Paul, Felicia covered his walls with her own blood, then phoned the police, who discovered two of her fingers in the trunk of his car. When she was imprisoned years later, Paul admitted to murdering her sister. Felicia's daughter, Beth (Emily Bergl), later married Paul (though he was unaware of their relation); she eventually shot herself. Felicia then began to poison Paul's food by sabotaging Susan's pre-cooked meals, which led to a violent standoff. Credit: Ron Tom/ABC via Getty Images

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Courtney Robertson To Release "Juicy" Book Thirty-year-old Courtney Robertson received the final rose on The Bachelor during season 16. However, she has now traded in that rose for a book deal with HarperCollins Publishers. The book aims to release intimate details about Courtney's behind-the-scenes involvement with the show. Her persona as a television vixen may have contributed to the title of the book, which will be called I Didn't Come Here to Make Friends: Confessions of a Reality Show Villain. Her relationship with Ben Flajnik, the show's star, ended in October of 2012, after dating for less than a year. The following video shows a compilation of Courtney's time during the show's 2011 ABC season. http://www.youtube.com/watch?v=nYTBAIg52PY Courtney Robertson recently spoke with Us where she delved into her time on The Bachelor as well as her upcoming book. Appearing on the popular television show might seem like a dream to most people; however, Courtney had to live through an unpleasant side of being so well-known. "Going on The Bachelor was the most amazing opportunity I've ever had but I did not have a fairy tale ending," Courtney said before adding, "The girls hated me, my modeling career was destroyed and Ben and I had a tumultuous 11-month relationship that ultimately imploded. There are two sides to every story." So, why the sudden interest in reliving situations from the past? Courtney Robertson explained. "I wanted a chance to talk about what went down from my perspective, because I think there are a lot of misconceptions out there about me," she said. Should anyone affiliated with the show during Courtney's stint with the program be concerned about potentially embarrassing details? Courtney has not been forthcoming about what type of specific details will definitely surface from the book, but she did give some indication."Writing the book has been very cathartic. I've definitely learned a lot about myself and love! I think fans of the show are going to love it, it's totally juicy and hilarious," she said. The following video shows Courtney introducing Ben Flajnik to her family. http://www.youtube.com/watch?v=bJHPrRLbGI0 [Image Via Courtney's Facebook and Videos Via YouTube] Tags:ABC, Ben Flajnik, Book, Courtney Roberson, HarperCollins, season 16, tell-all, the bachelor Post navigation Previous: Previous post: NASA 3D Printer Flying to ISS in 2014Next: Next post: One Direction to Record Fourth Album on the Road

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William gives Queen Helen a Bafta Helen Mirren is to be honoured by Bafta with its highest award The queen of British cinema will get the royal seal of approval at this year's Baftas when the Duke of Cambridge presents Dame Helen Mirren with the Fellowship award. Dame Helen - who has played the monarch on stage and screen and won the leading actress Oscar in 2007 for The Queen - joins other winners of the prestigious award including Martin Scorsese and Sir Christopher Lee. The event, at London's Royal Opera House in Covent Garden tomorrow, is hosted by Stephen Fry with big name guests including Leonardo DiCaprio, Uma Thurman and Tom Hanks. It i s widely seen as a dry run for next month's Oscars and Steve McQueen's 12 Years A Slave is tipped to continue its award season success. The film, which stars Chiwetel Ejiofor as a free man kidnapped and sold into slavery in America's deep south, has 10 nominations including for best film and best director. Ejiofor is nominated for the leading actor award while co-stars Lupita Nyong'o and Michael Fassbender are nominated for supporting actress and actor. London-born Ejiofor said there was " something particularly special about receiving a Bafta nomination from home". He faces competition for the leading actor award from veteran Bruce Dern for his role in Nebraska and Hollywood stars Christian Bale, DiCaprio and Hanks. The other contenders for best film are Philomena, Captain Phillips, American Hustle and Gravity. Philomena also gets Dame Judi Dench a nomination f or the leading actress award for her role as the title character whose sea rch for the son she was forced to give up for adoption in 1950s Ireland inspired the film. She is in the running with American Hustle's Amy Adams, Cate Blanchett, Emma Thompson and Sandra Bullock for Gravity. Film critic Mark Kermode said he expected the outer space drama to provide the main competition to 12 Years A Slave for prizes. He said: "The nice surprise has been, in the case of 12 Years A Slave, not only has it been nominated for best film, best director, you've got a best supporting actor nomination for Lupita Nyong'o, who's terrific. "Great to see Chiwetel Ejiofor nominated for best actor, his performance is absolutely outstanding, although he's up against Tom Hanks in Captain Phillips - that's going to be a pretty tough title fight. "When it comes to wins, you're looking at 12 Years A Slave and Gravity. American Hustle has done well numerically in the nominations, I'd be surprised if it did as well when it comes to the awards themselves." Other nominees for best supporting actor are Bradley Cooper and Matt Damon along with Captain Phillips star Barkhad Abdi and Daniel Bruhl who played Niki Lauda in Formula 1 film Rush. Also recognised is American chatshow host Oprah Winfrey who is nominated for best supporting actress for her role in The Butler. That category sees Jennifer Lawrence and Julia Roberts nominated along with Sally Hawkins for her role in Woody Allen's Blue Jasmine. McQueen faces competition for the best director award from big names including Paul Greengrass and Martin Scorsese. Comic and actor Steve Coogan is nominated for best adapted screenplay for his work with Jeff Pope on Philomena. Kelly Marcel, who has written the script for the forthcoming 50 Shades Of Grey film, is among the nominees for the outstanding debut award for her work on Saving Mr Banks, about the making of Mary Poppins. Also nominated in that category are Colin Carberry and Glenn Patterson who wrote Good Vibrations - the true story of Terri Hooley, who ran a record shop in Belfast at the height of the Troubles. American filmmaker Alex Gibney is nominated twice in the best documentary category for his films about drug cheat cyclist Lance Armstrong and whistleblowing website WikiLeaks. Gravity leads the pack in number of nominations with 11, one ahead of both 12 Years A Slave and American Hustle. The event, formally known as the EE British Academy Film Awards, is broadcast on BBC1.

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Broadway Theater - Tony Award Nominations Dresden Shumaker Early last week the American Theatre Wing announced the Tony Award Nominations for the 66th ceremony to be broadcast on June 9th. This is a fantastic year for theatre on Broadway and many outstanding shows have been nominated. Many theatre critics are also clamouring that some great shows have been shut out or snubbed. Bette Midler’s performance in I’ll Eat You Last was considered a shoe in for a nomination for and yet it did not make the list. There were some beautiful victories within the nominations. Cicely Tyson, who returned to Broadway for the first time in 30 years, earned her first ever Tony nomination for “Best Actress in a Play” for the revival of Horton Foote’s The Trip to Bountiful. The Trip to Bountiful was produced by New York Knick All-Star center, Tyson Chandler and his wife Kimberly. Chandler is now the first NBA star to have received a Tony nomination. Tom Hanks has also received his first ever Tony award nomination for his performance in Nora Ephram’s Lucky Guys. The LA Times is reporting that Lucky Guy has already turned a profit. This is a pretty amazing achievement considering the show opened just over a month ago on April 1st. There are many familiar names within the list of nominees this year as Broadway continues to be a welcoming home for many film and tv stars to show off their acting chops. Here is the list of nominees for best actor and actress in a lead role in a play. You can read the complete list of Tony Award nominees on their website. BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE IN A PLAY Tom Hanks for Lucky Guy Nathan Lane for The Nance Tracy Letts for Who’s Afraid of Virginia Woolf? David Hyde Pierce for Vanya and Sonia and Masha and Spike Tom Sturridge for Orphans BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE IN A PLAY Laurie Metcalf for The Other Place Amy Morton for Who’s Afraid of Virginia Woolf? Kristine Nielsen for Vanya and Sonia and Masha and Spike Holland Taylor for Ann Cicely Tyson for The Trip to Bountiful If you are looking to take your family to a Tony Award nominated show there are many choices. I talked to Holly Fink, who runs Culture Mom Media in NYC, about which shows she suggests are best for families. Here is what she suggests: “Kinky Boots, which has the most nominations of any show is a great show for older kids (12 and up). Matilda is good for kids of all ages. Direct from London, it’s an adaptation of the novel by Roald Dahl and has opened to rave reviews. Up for revival, Annie is also great for kids of all ages, Pippin is quintessential Fosse and I’m planning to take my kids for musical theater 101 and Cinderella is a full on Broadway extravaganza.” No word yet on who will be the host for the ceremony this year. Who do you think should host the big show? Image Credit: annie-mae design on sxc.hu Other posts by Dresden you might like: • Quotes from Celebrity Moms about Motherhood • A Review of Natalie Maines’ New Album: Mother • 16 Movies to Watch with your Mom on Mother’s Day Follow Dresden online: Blog | Twitter | Google+ | Facebook

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Around the World in Movie Names Can you pick the correct location that is missing from the following movie titles? by trusting365 How to PlayClick the green button to start and enter the correct answers below Also try: Going My Way? Movie Titles (clickable) Challenge Good Morning, _______Robin Williams, Forest WhitakerThe _____ SyndromeJane Fonda, Jack LemmonThe Last King of ________James MacAvoy, Forest WhitakerOut of ______Meryl Streep, Robert Redford__________Humphrey Bogart, Ingrid BergmanThe Pirates of the _________Johnny Depp, Geoffrey Rush___________Ben Affleck, Kate BeckinsaleSeven Years in _____Brad Pitt, David Thewlis___________ BurningGene Hackman, Willem DafoeThe Boys From ______Gregory Peck, Laurence OlivierFrom ______ with LoveSean Connery, Robert ShawRaid on _______Peter Finch, Charles BronsonOnce Upon a Time in ______Antonio Banderas, Selma Hayek_________Nicole Kidman, Hugh JackmanIf It's Tuesday, This Must Be _______Suzanne Pleshette, Ian McShaneThe Prince of _____voices of Val Kilmer, Ralph Fiennes____________Rossano Brazzi, Mitzi Gaynor________!Gordon MacRae, Gloria Grahame North to ______John Wayne, Stewart GrangerHere Comes Mr ______Robert Montgomery, Claude Rains__________voices of Chris Rock, Ben StillerThe Road to ________voices of Kevin Kline, Kenneth Branagh_____naGeorge Clooney, Matt DamonHotel ______Don Cheadle, Joaquin PhoenixThe Treasure of the ___________Humphrey Bogart, Walter Huston______Humphrey Bogart, Bruce Bennett (or Matthew McConaughey, Penelope Cruz)Salmon Fishing in the _____Ewen McGregor, Emily BluntMidnight in _____Owen Wilson, Rachel McAdamsHotel ____________voices of Adam Sandler, Kevin JamesThis Is _______Thomas Turgoose, Stephen GrahamThe __________ LimitedOwen Wilson, Adrien BrodyIn ______Colin Farrell, Brendan GleesonLetters from _______Ken Watanabe, Kazunari NimoiyaThe Thief of ______Conrad Veidt, SabuAn American Werewolf in ______David Naughton, Jenny AgutterVicky Christina _________Rebecca Hall, Scarlett JohanssonOur Man in ______Alec Guiness, Maureen O'Hara________ NoonJackie Chan, Owen WilsonThe Hunchback of _________voices of Demi Moore, Jason AlexanderThe ______ FileJon Voight, Maximilian SchellNight Train to ______Jeremy Irons, Melanie LaurentNight Train to ______Margaret Lockwood, Rex HarrisonThe Prize Winner of Defiance, ____Julianne Moore, Woody Harrelson______ Tragedy: The Story of Jim JonesPowers Boothe, Ned BeattyThe Bridge on the _________William Holden, Alec GuinessThe Bridge at _______George Segal, Robert VaughnThe Purple Rose of _____Mia Farrow, Jeff Daniels You Might Also Like...Countries. Name Them. Go!Click the Country: 'L' CitiesWorld Landmarks by Country ExtrasReportNominateTags:Clickable, world, location Click the Country: 'L' Cities15Spot the Difference VI71950s Match-Up4Ancient Wonders3 Top User Games in Movies

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Hollywood pins hopes on Christmas filmgoers Dan Glaister in Los Angeles Last modified on Friday 5 December 2008 19.54 EST Is Jim Carrey recession-proof? Can Kate Winslet help to turn the economy around? Will consumers shell out for Brad Pitt or Will Smith? Is trusty Clint Eastwood counter-cyclical? If you are a Hollywood studio executive, the answer is yes, yes, yes and yes. As Hollywood struggles through the recession, studios are hoping that a full-scale cinematic onslaught over the Christmas season will bounce the movie industry out of the doldrums. Unlike much of the rest of the economy, the signs are cautiously optimistic. This year, a record number of big releases are scheduled for the crucial holiday season, with 11 major films packing major stars set for release between December 12 and Boxing Day. Carrey pops up in Yes Man, an affirmative tale about a loser who becomes a winner thanks to a self-help guide. Winslet caters to a different demographic playing a Nazi opposite Ralph Fiennes in Stephen Daldry's adaptation of The Reader. Winslet also rekindles her career-defining chemistry with Leonardo DiCaprio, this time in suburbia rather than on the high seas, in Revolutionary Road, due out in the US on December 26. Meanwhile Will Smith plays a man trying to make amends for his past in Seven Pounds. Eastwood, in Gran Torino, plays a Korean war veteran learning to get along with his Korean-American neighbours. With a mix of highbrow, lowbrow, middle-brow, comedy, romance, historical drama, politics, animal action, sci-fi, animation and musicals, Hollywood is throwing just about every trick in its book at cinemagoers in an attempt to draw them into the multiplex and the arthouse. Christmas has become the new summer for film executives. Last year, when 10 major films were released during the holiday period, $853.4m (£585m) was handed over at the US box office, including $63.2m on Christmas Day. In 2006, according to the industry magazine Variety, the figure was $58.5m. For while box office takings in the US so far this year have been on a par with last year - thanks in part to inflation - much else in Hollywood is gloom. Every day film industry trade magazines warn of downturns and layoffs: this week alone Viacom/Paramount announced 850 redundancies and NBC Universal dropped 500 staff, 70 of which were from the company's film division, as it announced it was aiming to reduce spending by $500m next year Even the trade magazines reporting on these events are not immune. According to film industry website Deadline Hollywood Daily, Variety is shutting down its Washington bureau, while the Hollywood Reporter is losing up to half its staff. But never fear, filmgoers. The season to attend is upon you. So flock, starting on Friday, to Nothing Like the Holidays, a family Christmas story starring Alfred Molina. The same day sees the release of the remake of the 1951 sci-fi classic The Day the Earth Stood Still, featuring Keanu Reeves as an alien robot. If Reeves acting the part of a talking robot is not enough to save Hollywood, then we might as well all stay at home.

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ABC Camberwell 262-274 Camberwell Road, SE5 ODL Associated British Cinemas Leslie H. Kemp Essoldo Camberwell Bijou Picture Theatre Camberwell Palace Theatre Odeon Camberwell Located in the southeast London inner-city district of Camberwell. The Regal Cinema opened on 17th June 1940 with little ceremony. It was already partially built when World War II broke out and was allowed to be completed. Initially it was project of D.J. James (planned in 1937 and to be called the Florida Cinema), but was sold to Associated British Cinemas prior to completion. It was one of the largest suburban cinemas in London and had a splendid Art Deco style. The splay walls beside the proscenium opening have fluted columns, upon which are mounted slender glass light fittings and there is a decorative grille in the the centre of the columns. Within weeks of opening, in September 1940, the Regal was closed by bomb damage (which killed some patrons) but it quickly re-opened on 6th October 1940. From 17th December 1961 it was re-named ABC and continued as a successful single screen cinema until closing on 27th October 1973 with James Coburn in “Pat Garrett and Billy The Kid” and David Bailey in “Wicked, Wicked”. It was converted into an Alpha Bingo Hall and has had several companies operating the building over the years including Jasmine Bingo. It operated as a Gala Bingo Club until late-February 2010, when it was closed suddenly, and the build was sold to a church. It is a Grade II Listed building. Two photographs I took of the former Regal Cinema in December 2004: http://www.flickr.com/photos/kencta/340715857/ Two interior photographs of the Camberwell Regal/ABC taken in 1988, when it was operating as a bingo hall. Proscenium:- http://flickr.com/photos/12494104@N00/365981534/ Circle:- haynesta Just a small point but the marker on the map for this cinema is some distance from its actual location which is at the corner of Medlar Stree and Camberwell Road, SE5 CamberwellLove Here is a current photo of this great building on the outside http://www.flickr.com/photos/22584135@N06/8173372240/in/photostream

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Audian Theatre Old Post Office Theatre Cordova Theatre Pullman Drive-In Pullman Village Center Cinemas Big Sky Motor Movie Drive-In Located at 315 E. Main Street in downtown Pullman, the historic Audian Theatre is a majestic example of the type of single-screen theatre that once dominated towns throughout the United States. The original Audian Theatre was built in 1930. The New Audian theatre reopened in 1936 with its current L-shaped layout and the 600-seat auditorium facing east. The original Audian Theatre, with a much smaller auditorium, faced south. With the demolition of a section of the Martin Garage in the mid-1930’s, the present auditorium was constructed and the theatre reconfigured. The Audian Theatre and its sister theatre the Cordova Theatre, have been the main options for Pullman moviegoers for more than 70 years. The Big Sky Motor Movie on Wawawai Road operated from the 1950’s until the early-1980’s, and The Old Post Office Theatre opened in the 1980’s but closed several years ago. The Pullman Drive-In Theatre was located near the present-day city playfields and pre-dated the Big Sky Motor Movie, but closed in the late-1950’s. The Varsity Drive-In was located on the Pullman-Moscow highway near the current site of Champion Electric. It closed in the early-1970’s. The Audian Theatre was closed for a time in the mid-1990’s. Best Theatres Inc. reopened the Audian Theatre in December of 1997. The theatre was thoroughly cleaned, repainted and a completely new DTS digital sound system was installed. A redesigned concession stand and a modern popcorn machine were also added later. The Audian Theatre has been given new life with record-breaking engagements of the new “Star Wars” and “The Lord of the Rings” trilogies. Its large auditorium and impressive sound system are its strengths. Many current and former Pullman residents have thanked us for continuing to keep the Audian Theatre open despite the trend to close single-screen theatres. We thank all of our patrons for supporting this classic theatre that has been such an important part of downtown Pullman. It was closed in 2014. Description courtesy of Pullman Movies (www.pullmanmovies.com) Charles Van Bibber Photo (“X” out of the print screen): Here is a photo circa 2004 by Seth Gaines: http://tinyurl.com/yau57qr Pullman, by Robert Luedeking and the Whitman County Historical Society (Google Books preview) says that the Audian Theatre had previously been called the Grand Theatre. There’s a photo of the Grand from about 1920, and the building is quite recognizable from the terra cotta cornice and parapet trim it still sports. The 1936 reconstruction of the Audian, which was nearing completion in late summer, according to the September 12 issue of The Film Daily that year, was apparently confined to the auditorium and the interior of the building. I haven’t found any early mentions of the Grand Theatre in trade publications, but it was being advertised in the Pullman Herald in 1916. A 350-seat house for movies and live events called the Pullman Theatre opened in December, 1913. I haven’t found the Pullman Theatre mentioned in the Herald later than 1915, about a year before the earliest mentions of the Grand Theatre. It’s possible that the Pullman Theatre became the Grand Theatre. Ben_Ritherdon This brought back memories of happy times in Pullman. Between them the three single-screen theatres managed to provide something fresh for me and my wife to watch most weeks between 1998 and 2001 (with the occasion trip to the multi-screen in Moscow plus the WSU film society). Sad to hear that the Old Post Office has closed, though I’m not hugely surprised. One diamond memory was going to a midnight showing of Terminator there with the adjoining gun shop putting on a display of the guns used in the film (potentially a classic cultural experience, not to be missed for two wide-eyed Brits). In reality the guns were less 1980s Terminator and more 1914 trench warfare and the theatre put the 4th reel on before the 3rd so we saw the end of the film part way through! Happys days though. When we finally get round to our WA family vacation we’ll be sure to catch a movie at the Audian. Trolleyguy Appears to be closed. Phone is disconnected and not listed on pullmanmovies.com. Shame. I guess there’s always the Cordova. Trolleyguy, please don’t tell me the Cordova’s closed too. Sorry, Ben. Check the Cordova hyperlink for nearby theatres and it comes up closed.

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Complex First We Feast Pigeons & Planes Sole Collector Green Label RIDE Channel John Krasinski Says the First Season of ‘Jack Ryan’ Will Tackle ISIS‘Gomorrah’: Italy’s Gritty Mafia Story Is Dark, Authentic‘Narcos’ Season 2 Trailer Teases The Inevitable Downfall of Pablo Escobar‘Halt and Catch Fire’ Season 3 Review: Mutiny Faces Growth, Earthquakes, and Joe MacMillan‘Stranger Things’: The Duffer Brothers Promise to Do Right by Barb in Season 2 Comic-Con: Producers Jennifer Levin and Sherri Cooper Talk BEAUTY AND THE BEAST, Their Bad Boy Beast, and Why the Story Still Resonates by Sheila Roberts July 15, 2012 Executive Producers Jennifer Levin (Felicity) and Sherri Cooper (Brothers and Sisters) sat down with us today at a roundtable interview to talk about CBS Television Studios’ exciting new fall series, Beauty and the Beast, starring Kristin Kreuk as tough NYPD detective Catherine Chandler and Jay Ryan as Vincent Keller, a former Afghanistan veteran with a terrifying secret. The highly anticipated series is a modern-day reimagining of the 1980’s cult classic CBS television show and will premiere on the CW on October 11th. The producing duo told us how they set about developing the series for a new generation inspired by an idea that came from new entertainment chief, Mark Pedowitz. They explained how they were drawn to the concept of a modern day Beast with a bad boy image, why Kreuk was always their first choice for the role of Catherine Chandler, and how Ryan’s character will only get ‘beastier’ as the story advances and more triggers are revealed. They also discussed the challenges of striking a balance with a female lead who is a very capable detective but struggles with accepting someone who wants to protect them and why they believe the classic story still resonates today because it’s timeless and deals with forbidden love and yearning. Check out our recap of the Beauty and the Beast panel and hit the jump for the interview. Question: Since you’re introducing this series to a whole new generation and the CW has a very specific demographic, did you have any type of focus group or young people that you asked their opinion on who should be cast in this role? Sherri Cooper: We did. We always wanted Kristin Kreuk. My sister-in-law is actually the casting director, and when we started writing it, she immediately said “Oh my God, I know who Catherine (character Catherine Chandler) is,” and we watched footage of her from the beginning. It was always Kristin Kreuk. When we were writing, we didn’t really picture somebody specific when we were developing it, did we? Jennifer Levin: No, but we did use our assistant who’s a decade younger than us and is now a writer on the show. She was incredibly helpful and is a huge Comic-Con CW fan. So yes, we did. People who have seen the pilot refer to the authenticity and how it feels like something that people of this generation can relate to. Levin: We’re young at heart. The network that it’s on has a specific audience. Cooper: When they first showed us the title, we looked at each other, because the idea came from our Mark Pedowitz to do a reboot of Beauty and the Beast. I didn’t really remember it at first. We looked at each other and we thought what would our new version be and we couldn’t picture it right away, but we could see the billboards like “Who doesn’t like a guy with some baggage?” or “Who doesn’t like a bad boy?” So, we sort of had our own idea of what’s a beast. Levin: It was just a metaphorical, like what if you were dating a beast or someone like that? So that’s sort of how we came at it. Cooper: And this was before Fifty Shades of Grey came on. It seems like there’s quite a lot of mystery in the show. Are there going to be advances as we go on? Levin: Yes. Cooper: Well there’s a case every week that will be closed and that you can watch and pick up any time and get your case to watch. And then, there will be these overarching mysteries about the mythology behind the beast and Catherine — his origin story, her mother. Your beast is a war veteran. Are you trying to say something about the USA right now or people coming back from war or anything like that? Levin: We’re not making a political statement, but it is from the character. We always think about the character and we came up with the idea because we had seen the Pat Tillman documentary (The Tillman Story). Pat Tillman was an NFL football player who enlisted after 9/11 and then was killed, and there was some controversy about his death. And so, that was our starting point. We really think about him as a person who is struggling to be more human. It’s not about politics really. Cooper: No. It was more from a character place. Our generation has obviously been affected by 9/11 so that was where we went to in terms of what happened. He’s not much of a beast. Cooper: You know what. He’s going to become beastier. Levin: He’s going to get beastier. Yes, definitely. Is he going to be more physically beastier or more emotionally? Cooper: Both. It’s great to get into what defines a beast. Obviously, there’s so much you have to set up in a pilot, the rules. Levin: Just figuring out what happens when he becomes more beastly. I can’t say I would have been running away from him. Levin: That’s true and we do think about that. He can kill her so we have talked about that. And that is part of it. That’s why it’s relatable because we do think you could be with a guy who you’re in love with and yet he has this really dark side. Cooper: And in the beginning, you don’t see it. So, it’s more from your perspective. It’s almost like Jekyll and Hyde. Have you thought about that at all? Cooper: Yes, Jekyll and Hyde and like a bit of a time bomb. If you think about it, anybody with crazy anger, he’s a ticking time bomb and so he’s unpredictable. She’ll think “Oh, I can trust him. He doesn’t seem beasty to me.” And then, we’re going to get into…wait. Are his triggers going to change? Cooper: Yes. And what he thinks are the triggers versus what they really are which we’ll uncover. She’s going to think they’re one thing and we’ll get into what they really might be. But yes, his triggers will change. I think in the beginning the idea was that when he became adrenalized as a super-soldier, anything that gives him an adrenalin rush would trigger it. Levin: Which she would do too. No one pisses you off more than someone you love or excites you more. Apart from the name of the show, what’s left from the original story? Cooper: From the 1980’s show? From the book? Cooper: That’s a really great question. We were brought the 80’s show. And the show was inspired by the story? Levin: Of course. Cooper: But the next conversation we had besides bad boys was the idea that there’s a beauty and a beast within all of us. And in the series we’re going to be getting into why are some people perceived as beasts and some as beauties. The typical you can’t tell from what’s on the outside versus what’s on the inside and that we all have a beast inside each of us and that will be in a lot of stories. Levin: That story resonates even today because it’s timeless – that feeling of forbidden love, yearning, all of that. Cooper: And we’re exploring that. That’s really the heart of the show. Where the show really lives is in their relationship. Levin: And there really isn’t a lot on TV that is about that, that really is about that yearning and not being able to … that’s at the core and also this graphic novel tone. How do you balance a female lead who is a detective and very capable with this romantic yearning? Levin: It’s hard. Cooper: They save each other. She’s going to struggle with “I don’t need protection.” Levin: But everybody wants to be protected. Cooper: It’s that weird thing that Twilight is tapping into. There’s that fantasy versus she’s very capable. I guess love is you can accept somebody protecting you and you protect them. But we’re very aware of giving her… Levin: Well, we relate to it. It is about juggling that and how complicated everyone is. You have a job and you’re competent. And then, you go home and you feel incompetent. All that stuff. Cooper: You want to feel like you can be girlie in some parts of your life and then you go to work and you’re [different]. Levin: When people saw the pilot, some people, particularly older men, thought “She’s so….really? She could be a cop? She’s so…” They didn’t buy it. We got really upset. I mean, look at us. We’re running a show. Cooper: We’re little. Levin: She’s littler. Do you know what I mean? Cooper: But we’re addressing that. Levin: We are addressing it. Cooper: Even in her precinct, we’re going to play the bias against female cops, but we actually have a consultant from the LAPD who’s working with us and she walked in and she’s tiny. She’s this petite little blonde and she’s been a detective for 20 years. Catch up on all of our continuing Comic-Con coverage here. New Clip for Marvel One-Shot ITEM 47 Starring Lizzy Caplan and Jesse… Comic-Con: Hasbro Studios Head Stephen Davis Talks the Brony Movement, TRANSFORMERS, STRETCH… Tags • 2012 San Diego Comic-Con • Beauty and the Beast • Comic-Con • Comic-Con 2012 • Entertainment • Interview • Jennifer Levin • San Diego Comic-Con 2012 • Sherri Cooper Around The Web

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Awards 2013 Oscar Nominations: Who Will Win? The nominations are in, and we've got the dish on what it all means prev6 of 8nextView AllBest DirectorBy Richard Corliss Jan. 10, 2013Marco Grob for TIMENominees: Michael Haneke, Amour Ang Lee, Life of Pi David O. Russell, Silver Linings Playbook Steven Spielberg, Lincoln Benh Zeitlin, Beasts of the Southern Wild The list of Best Picture nominees may include as many as 10 titles — this year there are nine — but the Best Director category still holds only five slots, so it’s a more exclusive club. All five nominees directed movies that are short-listed for Best Picture, but after that: Wow! and huh? At the risk of burying the lede, we’ll save the shocks for the Snubs section, at bottom. Zeitlin was the biggest, happiest surprise, snagging a nomination for a hallucinogenic movie with no professional actors and a budget under $2 million. The Austrian auteur Haneke became the first non-English-language director (excluding Julian Schnabel for The Diving Bell and the Butterfly) of a non-English-language film (excluding Alejandro González Iñárritu for Babel) to be nominated in this category since Pedro Almodóvar for Talk to Her a decade ago. The two predictable nominees: Lee, a winner for Brokeback Mountain, who brought to vivid life the improbable tale of an Indian boy and a Bengal tiger on a raft; and Russell, whose film about a troubled dad and his bipolar son mirrored the director’s fraught relationship with his own son. The Best Director’s race, like that for Best Picture, was widely predicted to pit three acclaimed docudramas against one another. That may still happen for Best Picture, but in this category two of the three (Kathryn Bigelow and Ben Affleck) got killed in a vote-tabulating cage match. That leaves Spielberg, whose expert handling of a complex political drama helped make Lincoln a popular hit ($144 million domestic), as the indisputable front runner. Snubs: There are a carload. It’s nice to see that the directors of TIME’s top 3 movies of 2012 each received a nomination, but Jeez Louise, look who’s missing! Bigelow, the first woman to win Best Director (The Hurt Locker), dominated the awards of critics’ groups for Zero Dark Thirty. But she got stiffed by the Academy, not because she lost her masterly storytelling skills and muscular visual style but, we’re guessing, because a campaign concocted by Washington liberals and conservatives charged that ZDT saw a link between the U.S. government’s torture of terrorist suspects and the discovery of Osama bin Laden. To Senator Feinstein and to the Academy directors who voted in this category, we say, It’s only a movie — and a brilliantly directed one. Second among the critics’ choices for Best Director was the affable Affleck, whose Argo earned reviewers’ cheers and solid box-office returns ($110 million domestic). But the Academy, which hasn’t acknowledged Affleck since 1998, when he shared the Best Original Screenplay award with Matt Damon for Good Will Hunting, ignored him again. Maybe the voters never forgave him for Gigli. Quentin Tarantino, previously nominated in the Best Director and Original Screenplay categories for Pulp Fiction and Inglourious Basterds (both Best Picture nominees), got the sop of a writing nod to salve his rejection as Best Director for Django Unchained. Sam Mendes, an Oscar winner for American Beauty (which was also Best Picture), went big in a smart way with Skyfall but came up short on the short list; the movie was also ignored in the Best Picture and Supporting Actor categories. Tom Hooper’s big gamble in shooting much of Les Misérables with the actors singing “live” and in single-shot closeup, paid off in a nomination for Best Picture but not Best Director. And if your last name is Anderson — Paul Thomas (The Master) or Wes (Moonrise Kingdom) — you could have slept late on Thursday morning. Neither movie received a nomination for either Best Director or Picture. Next Best Picture 2013 Oscar NominationsBest Supporting ActorAnd the Oscar will go to …Best Supporting ActressBest ActorBest ActressBest DirectorBest Picture Email

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The HOT Show Jay-Z’s ‘The Great Gatsby’ Soundtrack: What Would F. Scott Fitzgerald Think? Filed Under: Amy Winehouse, Andre 3000, Beyonce, bryan ferry, Florence And The Machine, Great Gatsby, Jay-Z, Lana Del Rey, Will.I.Am Courtesy of Columbia Pictures Music is a big part of F. Scott Fitzgerald’s The Great Gatsby, with the 1922 novel showcasing the jazz-filled flapper parties Jay Gatsby throws at his house in the West Egg. The author coined the term the “Jazz Age” to talk about the renaissance of music and dance that was being ushered in during the ‘20s. With the latest cinematic version of Fitzgerald’s classic—this one directed by Baz Luhrmann—hitting theaters today (May 10), Radio.com breaks down the Jay-Z-produced soundtrack through the eyes of Fitzgerald. Would the author have been a fan of the sound? On the soundtrack, the rap mogul tries to combine the old and new, not unlike Luhrmann does in his films or even what Fitzgerald did with his writing. Jay-Z mixes Roaring Twenties-era horns with electronic beats, telling MTV he wanted the music to become another character in the film, just as it was in the book. Jazz was dangerous, chaotic and exciting when it first hit the scene and the youth of America couldn’t get enough of it. Hip-hop had the same effect when the public heard it in the 1970s so it’s no coincidence the two styles have been melded together by Jay-Z in an effort to bring the Jazz Age into the 21st century. The album starts off with Jay’s own contribution, “100$ Bills,” a straight-up hip-hop track that references Slick Rick, the 1929 Wall Street crash, 9/11 and Taylor Swift, sort of dissing her with the line, “Took that, Taylor Swift to a hundred f****** million, b****.” (Apparently, Team Kanye all the way.) Beside the fact that poor Fitzgerald would have been confused about these future events Jay speaks of–not to mention the voice modulation going on (the talk box, the first voice changing equipment, wasn’t invented until the 1930s)–the song is straight from the 21st century. The closest thing they had to rap in the ’20s was the poetry of Langston Hughes, a studied poet who was still enrolled in New York’s Columbia University the year Fitzgerld’s book came out. Other songs on the album do a better job of melding the two styles together like will.i.am on “Bang Bang.” Using Cecil Mack and James P. Johnson’s “Charleston” to keep the beat—a song, we’d like to point out, was actually released in 1923— will.i.am channels Louis Armstrong with his frog in the throat singing style to talk about making bootys drop. He would get Daisy and the rest of her friends dancing the Charleston, but would probably lose the flapper audience during the chorus- a little too EDM for the Roaring Twenties. Read more about The Great Gatsby soundtrack on Radio.com More From The New HOT 95-7 - Celeb Gossip, Music News, The HOT Show - KKHH-FM Cosmopolitan.com Happy HourSonja in the City with Sonja Morgan Follow Us FacebookTwitterTuneInInstagram HOT 95.7Events On AirThe HOT Show CoCo Dominguez Connect With HOT 95.7Contact Us

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Mousa Kraish: Actor and Director Palestinian-American Mousa Kraish, a Hollywood actor, refuses the numerous "terrorist" roles for which he is approached. Ironically enough, however, he began his career as a member of Black September in Steven Spielberg's Munich. "TheMunich role opened my eyes to how important it is for the film to show both sides of the story. Now I decide what to take based on that quality and not the type of role," Kraish explains. "I tell my agent now to not send me those scripts that seem thoughtless and unsubstantial. If they're just putting up somebody with a beard that's a villain and it's True Lies all over again, I don't want to be a part of that. In a way, I'm saying I'm not going to wear black face anymore to appease a side of an industry that knows nothing about what's happening in the world." Born in 1975 in Brooklyn to parents from the West Bank town of Jericho, Kraish is the oldest of nine children. He went to school to become a doctor, but ended up working at an internet start up. After 9/11, he decided to study theater and worked with David Mamet's Atlanta Theater Company for two and a half years. "I love acting," Kraish says. "Everyone around me told me I couldn't do it. That's the one thing that nobody in the Arab community seeks out to do. I've always liked being the black sheep and pushing that envelope. It's the best way I can communicate and say things that I wouldn't be able to say in my daily life." Kraish most recently appeared in Al Pacino's Salomaybe and Greg Mottola's Super Bad as well as King of California and Finishing the Game, both of which premiered at the 2007 Sundance Film Festival. Kraish has also appeared onstage in Precipice at the 2004 New York Fringe Festival and in Grenade at the 2004 Arab-American Comedy Festival. In addition, Kraish writes and directs films. He has completed two short films, The Fourth Estate and A Brother's Love and is now working on his third film, How to Make a Dollar Bill in Brooklyn. "I'm just a kid from Brooklyn living his dream," says Kraish. "It's a good time for Arab Americans to come out and have commercial success and then say, 'Here's my community, what can I do to help them?' Just don't forget where you came from." Palestinian-American Profiles The Institute for Middle East Understanding (IMEU) is a non-profit organization that offers journalists facts, analysis, experts, and digital resources about Palestine and Palestinians.

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August 25, 2016 home | celeb | music | movie | tv Home > News > Movie First Authorized Jimi Hendrix Biopic in the Works by His Estate March 12, 2014 (2:34 am) GMT The movie is expected to feature songs like 'Foxey Lady', 'The Wind Cries Mary', 'Purple Haze', 'Voodoo Chile', and 'Crosstown Traffic'. An official Jimi Hendrix biopic is in the horizon, Deadline reports. The movie is developed by his estate in conjunction with ICM Partners. It will be the first authorized film that focuses on the late rocker since previous attempts to tell his story on the big screen never came to fruition. A project once pitched in by Legendary Pictures fell apart, despite having a directing commitment from Oscar-nominated Paul Greengrass and a script written by Max Borenstein, due to disapproval from Experience Hendrix LLC. Anthony Mackie was initially poised to star in it. The Hendrix estate's lack of approval didn't deter John Ridley though. The "12 Years a Slave" scribe went on to direct "All Is by My Side" with OutKast's Andre Benjamin or Andre 3000 as the music icon. It didn't include any of Hendrix's signature tunes and instead focused on his early years as an aspiring musician trying to make it on the streets and in the clubs of London, England. The film is on the line-up of this year's SXSW. Now, the authorized project will feature Hendrix's songs like "Foxey Lady", "The Wind Cries Mary", "Purple Haze", "Voodoo Chile", and "Crosstown Traffic". His sister, Janie Hendrix, who's handling the annual all-star Experience Hendrix tribute tour, will be involved in the production. "We're delighted to be associated with ICM Partners on this project that's been a long time coming," she said. "Our concern has always been that any biography of Jimi that employs his music be held to the very highest standard of cinematic excellence. His musical legacy deserves no less." "Our partners at ICM are ideal insofar as they completely understand that the use of his music in such a film is a monumental responsibility that will resonate through generations to come as Jimi's artistry has since the 1960s." TODAY'S HEADLINES

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Jen Yamato || May 19, 2011 11:50 AM EDT Sam Claflin on Pirates of the Caribbean and the Possibility of Chemistry with Kristen Stewart In this summer's swashbuckling sequel Pirates of the Caribbean: On Stranger Tides, British newcomer Sam Claflin goes toe to toe with Captain Jack Sparrow (Johnny Depp) and a much more fearsome pirate: Blackbeard (Ian McShane), the legendary captain of a zombie ship on a quest to find the Fountain of Youth. But while Claflin holds his own as idealistic young Philip Swift, the missionary who falls for a mermaid (Àstrid Bergès-Frisbey) and defies Blackbeard on pain of death, in real life he owes a debt of gratitude to the erstwhile Al Swearengen. Visibly nervous at his very first cast read-through for On Stranger Tides, Claflin got a much-needed reassurance from McShane, with whom he'd starred in the 2010 miniseries The Pillars of the Earth. "Ian just put his hand around me and went, 'You'll be fine,'" Claflin shared during an amiable chat with Movieline. "Honestly, that guy's really kind of kept me together." At 24, Claflin is set to make his mark with Pirates, his first big screen feature credit; he'll next co-star with Chris Hemsworth and Kristen Stewart in Snow White and the Huntsman. In any case, he's building an solid resume within Hollywood -- and, having amassed about a thousand new Twitter followers since the time of our chat, it looks like the fans are taking note as well. How are you liking your first big movie press tour? I'm really enjoying it, because obviously I've never done this before. The first time is always the best, right? But I'm actually having a blast. Now that you're getting your big breakthrough, do you think you'll relocate from London or stay put? I think stay put. It's home, you know. My girlfriend is there, and my friends and family. My history is all back home and the thought of moving anywhere else at the moment isn't even in the cards. I definitely feel that in the future if work brought me out there then obviously I'd have to move, but right now I'm very settled and very comfortable. How much pressure did you feel when you first landed the Pirates of the Caribbean gig? There's not anything to describe the feeling I was going through! There was such a fine line between nerves and excitement and I was feeling both, so the adrenaline was doubly attacking my nervous system. No, but I definitely felt the pressure, especially to begin with to be consistently compared to sort of "the new Orlando Bloom." And he and Keira Knightley left very large shoes to fill and a high bar to match up to. I know that both me and Àstrid [Bergès-Frisbey] were kind of like, "OK, we've really got to pull something out of the bag that's special." And who knows if we've done that or not, but nevertheless it was an amazing experience and an opportunity for me to really knuckle down and get stuck in. I tried not to think about it too much, but it's hard, you know? [Laughs] I'm very anxious to hear what people say about it all. Do you watch your own performances on screen? I do, because I don't think I could learn if I didn't. And I feel that as much as I've learned about the process of filmmaking, I feel watching my performances, "Oh my God, I do that -- and I do this as well... I need to stop doing this. I look silly." It seems like as a performer, that's just getting to know your own tools. Yeah. I feel there are a few habits that I've started picking up on after watching a few things that I've done. Like what? I have a gamey eye. [Laughs] No, occasionally I see, I don't know, little twitches and facial expressions. I go, "I do that way too much, and I'm going to try to avoid it in the future." Fair enough! What was the audition process like for Pirates? I imagine it was a huge ordeal and a long process, given the enormity of this franchise. The initial audition, the first ever audition -- firstly, I kind of walked into it expecting to hear nothing back. I've been on so many auditions in my time that I was expecting... it was an impossible feat. It was recently announced that you got the Snow White and the Huntsman role, so congratulations! Were you just going out for every big movie out there? Yeah -- I think people have heard of me now, as much as people haven't seen me so much. But a few people, especially in the industry, are kind of asking, "Who the hell is this weird kid who's just appeared on my Internet page?" It's exciting because people are talking. I'm thrilled that people are talking; they really didn't have to be, and I'm honored, really, that my name is on people's lips. But nothing's really changed. Even the initial audition was just an ordinary audition. It seemed impossible and somehow it's all worked out for the best. You were in Pillars of the Earth, with Ian McShane -- Yes! Was it total coincidence, or did that connection help you at all in getting the Pirates job? I know for a fact now, today -- Rob Marshall told me today that when they were sort of thinking of offering me the part, he asked Ian's opinion of me. So I guess, thanks Ian, because I'm here! What was said, I have no idea. But nonetheless I owe a lot of my life to both of those two men, and I'm very thankful and lucky to be here. Ian has really sort of been there from the beginning for me. He was the first person I saw when I got off the plane in Hawaii. From the beginning he's really taken me under his wing and given me such support and help. How sweet! How so? The initial time when I met the big actors -- Penélope Cruz, Geoffrey Rush, Kevin McNally, Stephen Graham, Johnny Depp -- was during this read through. It was coming closer and closer to my line during this read-through, and I'd heard everyone do their first lines, it was my turn. You know, the nerves were building, my heart was pounding. Ian just put his hand around me and went, "You'll be fine." And I was able to relax. Honestly, that guy's really kind of kept me together. That's really adorable. Now to switch it up a bit -- you've got so many new fans on Twitter already. It's because... A famous actor told me once -- I don't want to name names, I hate that sort of thing -- but I was at his house and he said, "Are you on Twitter?" I said yes, I am. And he said, "There'll be one day when you'll have, like, five friends. And in the same day it'll go to five thousand." And, you know, I've not got five thousand followers, but this week I had two hundred followers to begin with. On Wednesday I had 210 followers. I'm checking -- he told me to keep checking every now and then and then see how quickly it sort of shoots up. Today, Friday, I have 850 or something. And you're just like, "How has that just happened?" [Ed. note: Claflin now has nearly 1,800 followers.] So, for the record your Twitter account is... @SamClaflin. Simple as! Hook me up, follow me! Lastly, regarding Snow White and the Huntsman: Have you yet met with Kristen Stewart? No! So there was no chemistry read, you were cast separately for your roles? No, but from my understanding she seems like an absolute legend of a girl. I have a friend who worked with her, my friend Eddie Redmayne, and he says she's really down to earth, really talented. She's so talented, I'm a big fan of hers. So fingers crossed there'll be chemistry. But no, I didn't have the opportunity to meet her, which is a bit of a shame. Get more on Pirates of the Caribbean: On Stranger Tides, in theaters May 20. Tags: Armie Hammer, Àstrid Bergès-Frisbey, ian mcshane, Johnny Depp, Kristen Stewart, penelope cruz, pillars of the earth, Pirates of the Caribbean, Pirates of the Caribbean On Stranger Tides, Sam Claflin, Snow White and the Huntsman, Twitter Subscribe to the new Movieline on YouTube

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NR Podcasts Videogame BANG! NR Podcast Nerd Wars Awkward Conversations November 30, 2012 James Martinez 0 The Dark Knight Legends Exhibit at LA Live Coverage: Costumes, Props, Art and Batmobiles, oh my! The Dark Knight Rises will be out on Blu-ray combo pack, DVD, and digital download on December 4th. To celebrate the end of Christopher Nolan’s acclaimed trilogy, Warner Bros. Home Entertainment has put together The Dark Knight Legends Exhibit located at L.A. Live’s Event Deck in Downtown Los Angeles. Did I mention it’s FREE to the general public? It’ll be open daily from Noon-9:00 p.m. through December 14th. You’ll get to see costumes and props from the Dark Knight trilogy, Batman art from the DC Comic art exhibit, and most importantly seven different Batmobiles! You will see the Batmobile from the Batman television series (1966) with Adam West, the Batmobile from Batman (1989) and Batman Returns (1992), Batman Forever (1995), Batman & Robin (1997), and the Tumblers and Bat-Pod from Batman Begins (2005), The Dark Knight (2008), and The Dark Knight Rises (2012).Aside from the great cars we also got to see numerous costumes from the Dark Knight trilogy, including the two Batman suits, Bane’s costume, the Joker’s suit and his nurse disguise, the suit for Two-Face, the Scarecrow costume, Catwoman suit, and props and costumes for The League of Shadows. Walk around some of the costumes, you’ll also find great scale models from the Dark Knight Rises, like The Pit Prison, Bane’s underground layer, the Fusion Reactor chamber, and of course the Bat Cave. The Batman art includes a centerpiece by legendary artist and DC Entertainment co-publisher Jim Lee. All of the artworks were so amazing that I wanted to take some of it home with me, especially several different prints with Harley Quinn. The artist ranged from comic book artists, illustrators, and designers. They had three months to create the pieces that ranged from digital prints, skate decks, and even a LEGO Catwoman, yes you heard right, a LEGO Catwoman with her signature whip. The press event had a great panel with designers and a few lucky owners of some of these wonderful iconic cars. George Barris, the designer of the original Batmobile, gave out a great piece of information at the event. The number one Batmobile, his pride and joy, will be up for auction and is expected to sell at a price tag that may go over seven figures! I had a chance to talk to George Barris himself and asked why he would want to sell such a treasured car. George told me he wants to share the number one Batmobile with the world. We also spoke to another proud owner, this time of a restored Michael Keaton Batmobile; Jeff Dunham, a great comedian, ventriloquist and overall nice guy. Jeff purchased the vehicle and had it restored. He was gracious enough to lend it to the exhibit. We asked Jeff a few questions, like which one of his puppets he would consider to be his Robin (see video above). During the panel we got some great information about a one hour documentary about the Batmobiles that’s included in the Dark Knight Rises Blu-ray. All seven Batmobiles from the exhibit are shown off, and you’ll see interviews with the builders and designers, actors, and drivers from the Dark Knight Trilogy. The first question that came up in the panel was, “What was in your head when you first designed these [Batmobiles]?” George Barris, the designer of the first Batmobile for the Batman TV series answered, “I said, ‘If you’re going to create a car for a comic book, make it a people’s car. Make it a car that everybody would enjoy, kids, families and everything.” Not only did George achieve that goal, but all of the vehicles have found a place in our nerdy hearts. Later in the panel Tim Flattery, the designer of the Tumblers, said that in Batman Begins, they were going to destroy the Tumbler. However, after the first night of filming, where Bruce Wayne (Christian Bale) and Lucius Fox (Morgan Freeman) were test driving it, everyone fell in love with it [the Tumbler] and became quite attached to it. By the second film they couldn’t resist and they had to blow it up to give birth to the Bat-Pod. All of these juicy details can be found in the documentary in The Dark Knight Rises. It doesn’t matter if you’re a fan of the Batman franchise or not, this is worth seeing in person. If you want to go see the exhibit you can access L.A. LIVE’s Event Deck (directly behind Nokia Theatre L.A. LIVE) from the stairways at the corner of Chick Hearn Ct. and Georgia St. or at the entrance at West Road and Georgia St. (1 block South of Olympic Blvd). Admission to the exhibit is free to the public. The exhibit hours are Monday through Sunday, 12:00PM – 9:00PM from November 30th to December 14th. Batmobile TourBatpodTDKRThe Dark Knight RisesTumbler From around the web: Pingback: watch video() Pingback: Email Processing For Cash Scam() Pingback: multi level marketing() Pingback: Armor for Android() Pingback: games angry birds() Pingback: how to build my own website() JOIN THE NR FAMILY Home l About l Privacy © 2016 Copyright Nerd Reactor. All Rights reserved

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Adam Dunn to Star in Upcoming Matthew McConaughey Movie as Bartender by Doug Kyed on Thu, Feb 21, 2013 at 10:43AM Typically when athletes move from the playing field to the silver screen, they take on roles in big-time action movies with explosions, gunfire and the like. Adam Dunn will be making his acting debut in an independent film starring Matthew McConaughey. Dunn plays a bartender in Dallas Buyers Club, according to ESPN.com. IMDB describes the movie, which opens in Summer 2013, as “Loosely based on the true-life tale of Ron Woodroof, a drug taking, women loving, homophobic man who, in 1986 was diagnosed with full blown HIV/AIDS and given [30] days to live.” Dunn got involved with the project through former minor league pitcher Joe Newcomb, who works with the film’s production company. “My buddy started it,” Dunn said. “He’s ate up with it. He’s the kind of guy who’s not going to half-do anything. He’s going to do it right. “It’s probably going to look pretty awesome. We took like 20-something takes each time. I haven’t seen the final product, so keep your fingers crossed. Hopefully, I made it.” Dunn said he has speaking lines in the movie and that he spent two days in Louisiana shooting his scene. Like any budding actor, Dunn had his demands. The White Sox slugger wanted to make sure the bar he was working was fully stocked with a wide array of his favorite booze. Photo via Facebook/Chicago White Sox from B/R

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Page last updated at 02:35 GMT, Wednesday, 14 October 2009 03:35 UK Killings given Bollywood flavour The film has brought a taste of Bollywood to the English suburbs By Emily Buchanan and Bhasker Solanki Bollywood films are renowned for their fantastical romantic plots mixed with vibrant song and dance routines.Rarely do they look into controversial issues. Now, however, a British take on a Bollywood production is doing just that by tackling the practice of so-called honour killings in Britain. Production has already started in locations in and around the Berkshire town of Slough and brings together a multi-cultural cast and crew from India, Pakistan and Britain. Such killings involve the victims - usually young women - being murdered by relatives who judge them to have brought dishonour on the family, often because of their social contact with men. They have been perpetrated for centuries in the Middle East and South Asia but, as communities have migrated, the practice has spread to Europe, including the UK. There can never be honour in such killing Avtar Bhogal, director The problem is particularly serious across Punjab state, on both sides of the border between India and Pakistan. Police estimate up to 12 people are murdered each year in the name of honour in England, Wales and Northern Ireland, with a further 500 forced into marriage or attacked. There is a lack of data as the police record killings as murder rather than having a special classification. It is estimated that over 200 girls are taken out of Britain each year to be forcibly married. There is no way of finding out if some of these girls are killed abroad for refusing to do what the family wants - or if the family finds out they have already found a partner. On the set of Honour Killings, Indian director Avtar Bhogal says he has long wanted to make a film on the subject and was compelled to do so after discovering the problem existed in Britain. "There can never be honour in such killing," he said. His film spans three generations. Firstly, there is the story of an affluent Sikh businessman - played by the veteran of Hindi cinema Prem Chopra - who is jailed for murdering his daughter after she fell in love with a Muslim man. When his grandson then also begins a secret relationship with a Muslim woman, it leaves her father racked by indecision, as he weighs up whether he too must kill to protect his family's honour. Fizzing routinesThe tension builds with the prospect of history repeating itself as romance again crosses the religious divide. In spite of the heavy subject matter, no Bollywood-style film could go without fizzing song and dance routines to draw in the crowds. Gulshan Grover, who has performed in hundreds of films both in Bollywood and Hollywood, plays the jailed businessman's son. He feels it is important to highlight social issues in a way that still attracts the public. "No one wants a film with a message, whereas if the viewership is larger and more people are watching something and a message is slid into it then it's far more effective," says Mr Grover. The young lead actor is British born Sandeep Singh. He had to travel to Mumbai for specialist training in Bollywood techniques. Sandeep Singh travelled to India to train in Bollywood techniques "A Bollywood hero always has to have all the elements... to sing, dance, move around and fight. He has to be very expressive and show emotions, which makes the role challenging." The Muslim woman he wants to marry is played by popular Pakistani actress Zara Sheikh, while her father is played by another veteran, the Pakistani actor Jawed Sheikh. Choreographer Longi Fernandes, riding high after the success of his work in Slumdog Millionaire, has been putting the cast through their paces in the grounds of a large house near Slough. Meanwhile, the part of an Englishman who is a close friend of the businessman's family is played by Tom Alter. The son of American missionaries, Mr Alter has lived in India all his life and speaks fluent Hindi and Urdu. He thinks Britain's multi-cultural society provides the best context for the plot. "Usually in our Hindi films we go to some other location and say it's India. This is a story of England, so it's the only place where we can shoot it." The cast are filming the emotional morality tale in Punjabi and Hindi, as well as English, and it is to be dubbed into several other languages for the international audience. Its Punjabi version is to be called Rabba Maph Kare (God forgive us). The film will be released next spring and there are plans for premieres in Mumbai, Lahore and London. British Asians 'outsourcing murder' 28 Sep 09 | South Asia Bollywood stars hit the high road 17 Apr 09 | Highlands and Islands Bollywood to make debut at Proms 08 Apr 09 | Arts & Culture Bollywood deal 'will aid UK film' Bollywood's first family hits UK Earth-sized planet orbits neighbouring star

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feb 21, 2013 – Artist Profile: Lance Wakeling Save Share Twitter Facebook By Karen Archey A Tour of the AC-1 Transatlantic Submarine Cable (2011) Your videos seem to borrow aspects from narrative filmmaking, the documentary format, amateur travelogues, and even at times experimental cinema. What genre(s) of filmmaking do you see yourself following or challenging? Well, I don’t really see my videos as being film. One time I tweeted that as an artist I would never let my video work get transferred to film because too much would be lost. It was a joke, but I’m also serious. I mean, it’s hard not to be suspicious of a discipline that has a genre called “experimental.” From the perspective of how the work is displayed, I feel my videos are not for the cinema. The movie theater flattens space and immobilizes the viewer. I like that people have to stand in a gallery, that they enter and leave the video at random times. This is quite hypothetical, however, because in practice, most of my work is viewed online, where the artist has even less control. In your videos you pull images and clips from a variety of sources including Google Street View, web-based image searches, and your own self-shot footage. Your videos range from twenty to thirty minutes in length. How do you structure this footage with the essays that make up your screenplay? How long does it take you to finish a video? For Christmas my sister gave me an image from a brain scan she took of a human hippocampus, the part of the brain responsible for short- and long-term memory and spatial navigation. The hippocampus looks like a sea horse and its etymology reflects this. The functions of the hippocampus intrigue me. During the making of A Tour of the AC-1 Transatlantic Submarine Cable I researched each location extensively. In many of the places, I felt I was not making new pictures, but reproducing ones that already existed. At the other end of the process, in the editing room, I could sometimes not differentiate between “original” and poached images. The internet has changed our relationships to space and memory. Thanks to the Borgesian online mapping projects, we can have memories of places we have never been. This is not new in itself, just more prevalent. Each piece takes about a year. After that I forget everything. From 2008-2010 you organized Private Circulation, a monthly PDF bulletin distributed via e-mail. Could you describe this project and how it relates to your artistic practice? Private Circulation gave me a chance to work with a handful of great artists and editors. My current work would simply not be possible without it. Similarly, you’ve long maintained a practice creating static objects, which may seem distinct from your videos that are heavily steeped in text. Are your objects equally influenced by topical research? How do your sculptural and documentary-based practices interrelate? In 2010, I moved to Sunset Park and rented a studio on 36th Street. A couple blocks south at Bush Terminal there was an old apple orchard growing in toxic soil. I spent nine months sanding and painting store-bought apples as they rotted beneath the layers of One-Shot sign painter’s enamel, forming complex glossy folds. The circumstances that lead up to a work are meaningful. I’ve found that sculpture is largely opaque to its circumstances of production. For instance, I have to tell you about the toxic orchard. If you want a periphery to be part of the work, it must come from outside (viz., a conversation, press release, or wall text). I want to make self-sufficient works—ones that do not require external descriptions. With video I feel I can branch out and include aural and visual images, even sculptures and architectural spaces. I think these recent pieces are sculpture-based documentaries. Your new video, Field Visits for Bradley Manning, is the third in a series of videos exploring the physicality of the internet, following Views of a Former Verizon Building (2013) and A Tour of the AC-1 Transatlantic Submarine Cable (2011). Could you describe this new project, and how it builds upon your research in the preceding videos in this series? How many videos will complete this series? I think this will be the last in the series. But one never knows. Field Visits for Bradley Manning is currently a Kickstarter project and 1.16gb of research. The plan is to visit Kuwait, Virginia, Kansas, and Maryland and to make a travelogue based on the areas surrounding Manning’s geo-detention sites. Building out from the associations developed in the previous videos, I’m focusing on the history of fingerprinting, concepts of citizenship, several archeological sites at the delta of the Tigris and Euphrates rivers, the buffalo soldier, and the National Cryptographic Museum, among other things. I am hoping to also focus on pearl divers, as this was the foundation of Kuwait’s economy before oil. I was pleasantly surprised when I realized that all three videos have pearls in them. The piece will culminate in a video and an e-book for Klaus Gallery. How long have you been working creatively with technology? How did you start? I bought my first computer in 2004. It was a white MacBook. The money came from an inheritance from my grandfather, a craftsman, who used to make some of his own tools. Describe your experience with the tools you use. How did you start using them? Where did you go to school? What did you study? I went to Cornish, a small art school on the West Coast where painters studied Abstract Expressionism. I remember on the first day, we were put into groups and asked questions such as, “Do you feel women are treated equally to men?” I was the only male in the group and the only one who believed men and women were not treated equally. This shocks me still. What traditional media do you use, if any? Do you think your work with traditional media relates to your work with technology? I think this is a false distinction. Rather, you have to ask if the medium fits the idea. Are you involved in other creative or social activities (i.e. music, writing, activism, community organizing)? No, my artistic practice is my main focus. What do you do for a living or what occupations have you held previously? Do you think this work relates to your art practice in a significant way? Manual labor and repetition held a significant place in my earlier works, such as Exodus (2004), a sculpture where I cast over 100,000 letters and punctuation marks in plaster. I often think of New York City as a labor camp, and am inspired by the oppressive conditions here. But normal day jobs have ceased to interest me. La perruque! Who are your key artistic influences? Lately: Harun Farocki, Agnes Varda, Chris Marker, W.G. Sebald, William Burroughs, William Carlos Williams, Georges Perec, Aby Warburg, Robert Smithson, Marcel Proust, Thomas Pynchon, Paul Virilio, Bertolt Brecht, Anna Lundh, Keren Cytter, Liz Marker, Trinh Minh-ha, among others. Have you collaborated with anyone in the art community on a project? With whom, and on what? Not really. Although I enjoy helping other people with their projects. My projects also require help from other people. Do you actively study art history? No. But I like the idea of actively studying art history. Do you read art criticism, philosophy, or critical theory? If so, which authors inspire you? Again, I like the idea of it. I read criticism and theory maybe once a month. But I can’t say that it inspires me. Are there any issues around the production of, or the display/exhibition of new media art that you are concerned about? I prefer not to.

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More Grizzly Man Keith Phipps Rarely has the never-ending struggle between humanity and nature looked so much like a one-sided battle of wits as it does in Werner Herzog's documentary Grizzly Man, the story of self-styled naturalist Timothy Treadwell. Treadwell's passion for nature led him to spend long summers camping with bear packs in Alaska. It took 13 years for him to discover that the bears could, and would, eat him. Treadwell left behind friends and family, many of whom express grief (though not surprise) over his death. Treadwell also left behind more than 100 hours of movie footage taken over the course of his last five "expeditions." Herzog mostly lets Treadwell tell his own story, and while he probably couldn't have predicted the context in which he'd be playing that role, he's well-prepared for it. Delivering long monologues to the camera, Treadwell talks about his role as a "kind warrior" determined to "study and protect" his animal friends. On more than one occasion, he appears to suffer an on-camera nervous breakdown, and when he can think of nothing else to do, he trails after bears and foxes and tells them he loves them, as if repeating the sentiment enough times will drill it into their heads. For much of the film, Treadwell could pass for a cracked kids' TV host, a persona that contributes to Grizzly Man's overall tone of real-life black comedy. Herzog goes deeper than gallows humor, however. In Treadwell, he's found a classic obsessive straight out of Aguirre: The Wrath Of God or Fitzcarraldo, and he clearly respects and understands his subject's commitment to filmmaking. But while Herzog occasionally protects his subject, he also honors his commitment to study him. Digging into Treadwell's past, Herzog reveals him as a failed actor with a past history of mental instability and substance abuse. Herzog doesn't seem as disturbed by these facts as he is by Treadwell's unshakable faith in his own sentimentalized view of nature. In spite of his years in the wild, he's driven to tears by his inability to understand, for instance, why a mean old wolf would kill a cute baby fox. That take on the world is far removed from Herzog's: Looking at footage of the bear that probably killed Treadwell, Herzog confesses that he sees no personality, only a "half-bored interest in food." But Herzog is still the only person who could have made Grizzly Man. His admiration for Treadwell has its limits, but he understands, better than most directors, what it means to follow dreams into the belly of the beast. Share Pretty Persuasion

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Seriously Quotes - Page 5 I take work very seriously and telling the truth in my job and professionalism. 'The Simpsons' appearances were great fun. But I don't take them too seriously. I think 'The Simpsons' have treated my disability responsibly. I think a lot of people like hidden-camera shows where they think they're spying on somebody who doesn't know they're looking at them. And nobody takes it seriously - you either enjoy it and get a laugh out of the reactions or not. It's a mystery. That's the first thing that interests me about the idea of God. If there is one, it's mysterious and powerful and awesome to even consider the concept, and you have to take it seriously. It's something that I think I'm going to have to fight against for most of my career, for people to take me seriously as an actor as opposed to a good-looking guy. It's not what I want to be known as. To rely upon conviction, devotion, and other excellent spiritual qualities; that is not to be taken seriously in politics. We are really living the American dream, to be a successful brand in the States and in Europe and to steep ourselves in our heritage. But we do it with a sense of humor. We don't take ourselves too seriously in fashion. For anyone who feels they are overwhelmed by their job, or maybe they take their job too seriously or are working too hard, I say go to a safari, particularly the Okavango Delta, and just be humbled. Humbled, I take parenting incredibly seriously. I want to be there for my kids and help them navigate the world, and develop skills, emotional intelligence, to enjoy life, and I'm lucky to be able to do that and have two healthy, normal boys. The United States was seriously defeated in Iraq by Iraqi nationalism - mostly by nonviolent resistance. The United States could kill the insurgents, but they couldn't deal with half a million people demonstrating in the streets. Streets, Without education we are in a horrible and deadly danger of taking educated people seriously. Dance music is my love, is my passion, is my life. I live for my fans and take my art very seriously. The rules are simple. Take your work, but never yourself, seriously. Pour in the love and whatever skill you have, and it will come out. Even institutions of State, such as the judiciary, were seriously weakened, to the extent that the citizenry justifiably feared a breakdown in law and order. The business community was hit by a slump in sales and confidence, leading to reduced earnings and loss of jobs. Kamisese Mara I look young. I heard this said so often that it became irritating. I once worked as a babysitter for a woman who, the first time we met, said she didn't want somebody in high school. I was 22. Later, I realised that in certain places being female and looking 'young' meant it was more difficult to be taken seriously, so I turned to make-up. In normal life people say, 'You're so different than on stage!' Offstage I'm down to earth, simple and a very goofy girl... I like to make goofy faces, be dorky and not take things too seriously. I just love to laugh. If you want to be taken seriously, always check your fly. Fly, I especially don't want men coming up to me and asking if sexism still exists. It's like, I'm seriously gonna barf a McDonald's salad on the next person to do that. McDonald, I will say to all the fellas out there that, seriously, I am a setup. I'm just like rose petals. I'm like incense. I'm a background thing for you when you do your thing with your lady. I'm a friend, only assisting you in your lurve machinations. So have no fear of me, people. Rose, When you start talking about abortion and gay rights, people take that seriously and they're passionate about it - on both sides. There is only one thing I want. I would like to be seriously ill, and to hear nothing more about him for at least a week. Why doesn't something happen to me? Why do I have to go through all this? If only I had never set eyes on him! Seriously, I grew up a fan of Hulk Hogan, and I think I bring some of his best values to the ring... the values of a superhero. Always do your best. Never give up... I think kids want to believe in that, and they should believe in that. A good lesson in keeping your perspective is: Take your job seriously but don't take yourself seriously. Thomas P. O'Neill Lesson, Life is far too important a thing ever to talk seriously about. Drop the idea that you are Atlas carrying the world on your shoulders. The world would go on even without you. Don't take yourself so seriously. Shoulders, My advice to people today is as follows: if you take the game of life seriously, if you take your nervous system seriously, if you take your sense organs seriously, if you take the energy process seriously, you must turn on, tune in, and drop out.

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Les Misérables Earns Four BAFTA Awards Including a Win for Anne Hathaway By Lindsay Champion February 11, 2013 - 10:55AM Anne Hathaway in 'Les Miserables' 'Les Misérables' star Anne Hathaway wins big at the BAFTA Awards. The Les Misérables film didn’t exactly sweep the British Academy of Film and Television Arts Awards on Feburary 10, but it did pick up a few trophies, including a Best Supporting Actress win for Anne Hathaway. The movie musical, directed by Tom Hooper, also took home awards for Best Make-Up and Hair, Best Production Design and Best Sound. Argo took the top prize for Best Film, and Amour star Emmanuelle Riva earned the trophy for Best Actress, beating out Zero Dark Thirty’s Jessica Chastain. Chastain ended her run in The Heiress on Broadway a day early to attend the awards. The Best Actor trophy went to Lincoln's Daniel Day Lewis, leaving Les Miz star Hugh Jackman going home empty-handed. In addition to Les Miz, Hathaway’s film and TV credits include Rachel Getting Married, The Dark Knight Rises, The Devil Wears Prada, Becoming Jane, Brokeback Mountain and The Princess Diaries. Click below to watch Hathaway’s heartbreaking rendition of “I Dreamed a Dream” in the Les Miz film trailer! | Les Miserables Movie Musical | Jessica Chastain | Hugh Jackman

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The Fantasticks - Off-Broadway The world's longest-running musical returns to New York! Broadway Alum Max Crumm Will Join the Cast of Off-Broadway's The Fantasticks Max Crumm Max Crumm will begin performances on July 8. Broadway alum Max Crumm will join the cast of The Fantasticks in the lead role of The Boy (Matt). He will begin performances in the classic off-Broadway musical beginning July 8 at the Snapple Theater Center. He will take over from Jim Schubin. Crumm made his Broadway debut in the most recent revival of Grease, after winning the role on the TV show You’re the One That I Want!. Since then, he has been seen off-Broadway in Disaster! and F#%king Up Everything. He also appeared in the film Easy A. Directed by Tom Jones, The Fantasticks has a book and lyrics by Jones and music by Harvey Schmidt. A modern twist on Romeo and Juliet, the musical tells the story of a boy and girl who fall in love and then quickly grow apart when they realize they want to experience the world. The Fantasticks features memorable songs “Try to Remember,” “Much More,” “They Were You” and “Soon It’s Gonna Rain.” The current cast of The Fantasticks also features Jeremiah James as El Gallo (The Narrator), Samantha Bruce as Luisa (The Girl), Dan Sharkey as Hucklebee (The Boy’s Father), Kevin Free as Bellomy (The Girl’s Father), MacIntyre Dixon as Henry (The Old Actor), Michael Nostrand as Mortimer (The Man Who Dies) and Pierce Cravens as The Mute, as well as Scott Willis, Rita Markova and Tom Flagg. | The Fantasticks Email Corrections to this article | Print | Send to a Friend

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Leading the Way January 20, 2011 ArcLight CinemasMayor Bill Bogaard WELCOME Good evening, and thank you for coming. I am greatly honored by the presence of so many residents and community leaders and, once again, thank you for attending this 2011 State of the City report. It is fun to be here in this theater, which makes an excellent venue for the event. I want to thank Michael de Leon, general manager of Paseo Colorado, for his help in securing this venue, and ArcLight Cinemas for hosting us. I want to acknowledge a special person who is here tonight. Since she was 10 years old, Jackie Stone has been a client of Villa Esperanza, the Pasadena non-profit that serves children, adults and seniors who have developmental disabilities. Jackie is a resident at Villa Esperanza, and she happens to be an employee of ArcLight Cinemas. I would like everyone to join me in greeting Jackie Stone. I consider it a privilege to work with my colleagues on the City Council. I thank them for their dedication and leadership, and for the collegial spirit with which our work is carried out. The City benefits in many ways from the service of these capable persons! City Manager Michael Beck is here tonight. We are fortunate to have him at City Hall and I thank him for leading the way to excellence in our municipal services and the highest level of public service. Michael, will you please stand and be recognized? There are several department directors, division managers and other city staff here tonight, and I thank them for their continued service to the people of Pasadena. BUDGET AND FISCAL REVIEW When the Council sits down to consider the city manager’s budget for fiscal year 2012, it will be the third successive year in which significant reductions have been necessary. This year, however, appears by far to be the most difficult. Major revenue sources have fallen dramatically over the past few years, most significantly in the General Fund – the largest operating fund for providing basic city services. Sales tax revenues alone have decreased more than $7 million since 2008. The current General Fund budget, approximately $217 million, is at the same level as in 2007. To address a serious structural deficit, the city manager has worked with department directors to make reductions that will save more than $100 million in the General Fund during fiscal years 2009 to 2014. Savings were achieved in several ways, including agreement by staff to forego increases, voluntary early separations for more than 90 employees, and the cutting of 138 previously authorized jobs, including some vacant positions. On behalf of the Council, I want to express thanks to City employees who have joined in the City’s actions to reduce costs. Several factors have contributed to our current situation, including the weak economy and high unemployment in the nation and in California; an anticipated drop in federal funding compared to recent years; drastically increased pension costs; and major negative impacts, direct and indirect, such as Governor Brown’s budget proposal. Based on the financial news, some might be encouraged by positive economic trends in recent times, as well as the announcement last year that the recession had ended. My sense, based on various reports, is the recovery this year will be modest and that benefits to Pasadena’s operating budget will be negligible. Governor Brown’s budget proposal will have a serious negative impact on Pasadena. California faces a projected $25.4 billion shortfall over the next 18 months. The Brown proposal would rely on $12.5 billion in cuts, which would hit higher education, safety net programs and redevelopment particularly hard, and on $12 billion in revenues from an extension of temporary increases on sales, income and vehicle taxes currently in effect. The new revenues would require voter approval in special elections planned for June. The possible termination of redevelopment in California would dramatically set back programs in many California cities to attract businesses, to create jobs and to build infrastructure, and the League of California Cities is strongly opposing that part of the budget proposal. There is substantial controversy about his proposal, and substantial uncertainty as to what the outcome will be. The only certainty is that this will not be good for Pasadena and the other cities of California. Governor Brown’s proposal has been called by many a good starting point for fixing the fiscal problems in Sacramento. Local governments want to be a part of the solution, and Pasadena will work in that spirit in the months ahead. I have the opportunity, as a vice president of the League of California Cities, to be involved in the negotiations at the state level. During the months ahead, I hope to add some value to these discussions, and to keep City Hall and our community informed of problems as well as progress. As to the City’s budget, I believe the Council has no choice but to explore ways to reduce expenses even further, in the coming year and over the long term. Let me mention some of the areas where preliminary work is already underway, at the city manager’s direction, for addressing our difficult fiscal challenges. In general, a hard look is needed at current employee compensation and benefit practices. One question: Is our current practice of tying compensation to the 75th percentile of competitive cities still appropriate, or do we need to take into account our City’s ability to pay? Another question: Do current benefit cost allocations between employer and employee need adjustment? A recent assessment from CALPERS of employee pensions imposes an increase of $13.2 million over the next three years. As a result, our pension program does not appear to be sustainable over the long term. There are questions here too. Should we adopt a new pension benefit for new hires? Should we be moving over time toward a defined contribution plan rather than the current defined benefit format? It seems to me that every area of city operations must be reviewed for efficiencies, for incorporation of new technology and, ultimately, for quality service delivery at lower cost. In this regard, it seems likely that some operations can be accomplished, pursuant to outside contracts, with little or no loss of quality or control. Further, perhaps this is a time for me and the Council, as well as members of the advisory bodies, to think with open minds about ways to reduce the cost of our revered commissions. To maintain the city’s commitment to fiscal stability, which the Council fully intends to do, all of these reviews seem essential in the months ahead. INITIATIVES FOR 2011 Now, with these budgetary challenges, it would be easy to lose perspective of what the city has accomplished and will accomplish in the future. As we know from last year’s record, there is much to celebrate. Let me share some examples of how our City departments are leading the way in the coming year. We know that young people must have positive alternatives during after-school hours. Tomorrow, a ribbon-cutting ceremony will occur at the new Teen Education Center at La Pintoresca Park. The center will provide leisure-time experiences for youth between the ages of 13 and 18. On January 29, there is another celebration to inaugurate a new soccer field at Villa Parke. It features artificial turf as a water-saving measure, and will significantly expand the capacity for local field sports, providing increased recreational opportunities for children, youth and adults. Investment in infrastructure is also critical to our quality of life. A project is the Civic Center-Midtown Improvement plan that began last week in front of City Hall. The goal is to implement pedestrian and transportation enhancements within about eight blocks in the project area. Components include streetscape and walkway improvements, landscaping and street trees, lighting, signage, and additional decorative elements. Work on several affordable housing projects will begin this year. Construction will start soon on Hudson Oaks, a 44-unit development of low-income senior housing. A sustainable rehab of the Euclid Villa housing complex, with energy and water conservation elements, will begin soon. And a fresh start is underway for the Heritage Square project, with the release to developers of a request for proposals to construct 70 units of affordable senior housing. There are two new programs that result directly from state and local budget cuts. Pasadena is launching a program that involves residents to supplement existing service levels by volunteering their time, talents and expertise. City Hall will reach out to the community to engage anyone who is interested in providing their best ideas for this program. Participation as volunteers is open to everyone from youth looking for community service credit to retired residents who have a lifetime of experience to share. At present, nearly 500 Pasadena residents are parolees who have been released early from prison but have limited resources for integrating back into society. Everyone deserves a second chance, so a community coalition has a vision for providing local parolees with guidance, educational opportunities and job training. The Police Department is working with the Flintridge Center and the county’s Pasadena Parole Office, to identify methods by which such reintegration can be achieved. They will invite about 50 community-based organizations to join in this effort. The goal is to reduce crime, lower the recidivism rate, and provide parolees a path to productive citizenship, and to make Pasadena a safer community. ROSE BOWL PROJECT On January 1st, the Tournament of Roses and the City hosted a successful Rose Parade and Rose Bowl Game. Wisconsin and TCU squared off in a game that all fans felt was one of the great games in Rose Bowl history – except those rooting for Wisconsin. An added benefit of having two teams that “travel well,” as the Tournament of Roses likes to put it, is that Pasadena hotels, restaurants and retail stores did extremely well. To ensure that the Rose Bowl will continue as a world-class venue, work has begun on its renovation and expansion. This work is scheduled for completion in time for the 100th Rose Bowl Game in 2014, with the final game of the Bowl Championship Series one week later. Plans for the project as well as the financing were completed last year, which was perfect timing – construction costs were down, interest rates were low, and funding from federal economic stimulus legislation was available. It is significant that our major tenants – the Tournament of Roses and UCLA – have signed 30-year leases to continue the Rose Bowl tradition, alleviating the risk that the tenants might relocate in the future to another stadium in Southern California. We treasure the Rose Bowl as America’s Stadium, an icon of the nation’s great college football tradition. Going forward, we can expect the stadium to continue as home to the granddaddy of them all. GOLD LINE FOOTHILL EXTENSION Last year was a turning point in the long-awaited easterly extension of the Metro Gold Line: construction of the first phase has begun and will be completed in less than four years, adding 11.5 miles to the line and six new stations between Pasadena and Azusa. The first element of the Foothill Extension – a rail bridge over the 210 Freeway in Arcadia began construction late last year. This project comes at a good time in our region, since it will generate $1 billion in economic output, and nearly 7,000 jobs. Last year, the average weekday boardings increased to a new record since the line opened in 2003 – 33,000. When the portion to Azusa is completed, ridership will expand, as will economic activity in Pasadena and other cities along the foothill extension corridor. Work on the next phase – to Claremont – is proceeding on all fronts, including environmental studies, planning, preliminary engineering and design. A further extension to Ontario Airport, although not currently part of the project, continues to be an actively pursued goal. PUSD Even with budget cuts resulting from the dysfunction in Sacramento, student academic achievement in Pasadena has outpaced state and county performance. For example, PUSD’s Academic Performance Index, or API, has risen 52 points since 2007, and more students are scoring at a proficient or advanced level in English, language arts, and math – especially in the middle schools and high schools. In a year when dropout rates increased throughout California, PUSD reversed that trend by increasing graduation rates by five percent through a comprehensive dropout prevention program in which our City Attorney’s Office plays a major role. The School District has also established a track record of effectiveness, most notably in its completion of facilities funded by Measure TT. More than 90 percent of those projects have been completed, on time and under budget. The resulting credibility of the district has allowed it to attract, through the Pasadena Educational Foundation, more than $11.5 million from corporations, foundations, state and federal governments, and other donors to supplement education and enrichment programs. This spring, PUSD will pursue, through a charter reform task force, a proposal for restructuring the method by which members of the board of education are elected. If adopted, sub-districts would be established and board members would be required to reside in the sub-districts for which they seek office. This is motivated by California law adopted in 2004 that strongly encourages the sub-district structure. REDISTRICTING With the 2010 Census, Pasadena will start this spring with redistricting. The law requires that voting districts be adjusted, or at least reviewed, every 10 years to conform with U.S. Census data. This will be a community-based effort to which everyone will be invited to participate. A Council workshop will take place in the spring, followed by City Council appointment of a task force. ELECTIONS I want to invite everyone to the Pasadena Convention Center on March 8th – election night – to see the counting of the ballots for the City of Pasadena and PUSD elections. It will also be televised live on KPAS and via streaming video on our city website. This will be a significant election for our City Clerk’s Office, with the mayor’s seat, four City Council seats and three board of education seats on the ballot. This is a good time for me to salute a person who, on the first Monday of May, will be stepping down from the City Council. Steve Haderlein was elected in 1999, and since then, he has provided exemplary leadership, serving as Vice Mayor, Chair of the Public Safety Committee and Vice Chair of the Finance Committee. Many District 4 initiatives have been completed, including Viña Vieja Park, a safe drop-off traffic plan at Pasadena High School, the new urgent care center on Del Mar Boulevard, and the new butterfly garden at Hastings Branch Library. When he steps off the Council, Steve will continue his work as an economics instructor at La Salle High School, and as husband to his wife Jane and father to their children Kathryn and Jenny. ONE CITY, ONE STORY I hope everyone is reading “Mudbound” by Hillary Jordan, which is this year’s selection for our One City, One Story community reading celebration. Pasadena comes alive each year with book discussions, lectures, art shows, film series, and other events, culminating with a visit by the author. This year, the events will take place during the month of March, and Ms. Jordan will meet with the community on March 26. If you haven’t picked up a copy yet, “Mudbound” is available at Pasadena public libraries and at local book stores. CONCLUSION This year marks the 125th anniversary of Pasadena’s incorporation as a city. A committee including the City of Pasadena and the Pasadena Museum of History has been working on a number of special projects and events. The official birthday party will be in June, so stay tuned for more information, as well as volunteer opportunities. As we celebrate this great City’s 125th birthday, all of us are proud of Pasadena’s reputation for leading the way. The City is known for its success in planning, infrastructure investment, sustainability, arts and culture, architecture and history, and a strong local economy. Pasadena has emerged as a center for the entire region. Our aspirations as a City continue to pursue a vibrant style of life, a sense of community built on a commitment to help one another, a clean environment, support for young people, particularly those who are at-risk, and a sense of safety, place and history. The fiscal challenges facing Pasadena today do not suggest to me there should be any change in our goals and aspirations. I am confident that, with your help, with your continued participation in the life of this City, Pasadena will continue to lead the way. I look forward to working with you during 2011, and thank you for your commitment to the City of Pasadena. Posted: 1/20/2011 11:15:00 AM Home > The Mayor

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Annie Remake Gets Will Gluck As Director But Loses Willow Smith By Katey Rich Somehow we have all lived long enough for there to be a movie role that Willow Smith is too old to play. The daughter of Will and Jada Smith had been set for years to make her lead acting debut in Annie, a new adaptation of the stage musical that her dad was on board to produce alongside Jay-Z. It was barely two years ago that the Smith family started putting the project together, but when you're nine years ago, a year and a half is a long time-- Willow Smith is now too old for the film, even though a director has finally been set to make it. Will Gluck, who directed the effervescent Easy A and the hit Friends With Benefits, is now on board to helm Annie, according to Deadline. Will Smith, Jada Pinkett Smith and James Lassiter are all on board to produce through Overbrook Entertainment, as is Jay-Z through his Marcy Media, but Willow is now out. Gluck will rewrite the screenplay which first came from Emma Thompson before receiving a rewrite from Aline Brosh McKenna. Those are two pretty big names to throw off a screenplay, but when you're Will Smith, you get exactly what you want. The studio is reportedly aiming for a 2014 release date, which means they'll have to move very fast to find a new Annie, not to mention the rest of the cast. The success of Les Miserables has undoubtedly emboldened them-- if a downer drama about starving people can be a hit, why not a peppy musical about cute kids? Your suggestions are welcome as to who you think might play the title role, but my money's on a smiley, charismatic newcomer-- maybe even Lila Crawford, the girl currently playing Annie in the Broadway revival. The Friends Star Who Actually Turned Down Will Smith's Men In Black Role Watch Margot Robbie Destroy Will Smith In A Brutal Game Of Playground Insults Bad Boys 3 Has A New Title That's So Dumb And Obvious It's Actually Perfect Where Every Major Suicide Squad Character Should Appear Next In The DC Universe

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ONGo TO SLIDESHOW show comments By Brad Brevet ON February 4, 2013SHAREThe first round was a success and we have a list of 50 films that have made the cut and moved on to the final round of voting where you vote and determine the ten best movies of 2012.After the first round of voting and 1,288 individual voters that followed all the rules set forth, the #1 seed moving into this final round was Quentin Tarantino’s Django Unchained, but Ben Affleck’s Argo ended that first round of voting within 50 votes as it continually crept up the list.The three other films that made the top five were Zero Dark Thirty, Silver Linings Playbook and The Dark Knight Rises. Rounding out the top ten after that first round of voting were Moonrise Kingdom, Skyfall, Lincoln, Looper and Life of Pi. This is to say that six of the nine Best Picture nominees made the top ten and all nine actually made the top twenty. For as much as people complain about the Academy, it would seem their taste isn’t too far off from the general consensus.That said, we move on to the final round of voting where we will determine the ten best films of 2012 as voted by you. This time around you will vote for five films, no more, no less and trust me when I say if you can’t follow these simple instructions your votes will be deleted. It happened plenty in the first round.At least 150 votes were deleted during the first round because people couldn’t follow the simplest of rules and vote for eight or more films. This time I’m making it even easier as all you’ll need to do is count to five and hit “Vote”. Here, I’ll even make it clearer…READ THE RULES BEFORE VOTING!FAILURE TO FOLLOW THEM MAY RESULT IN YOUR VOTE BEING DELETEDYou must vote for no fewer than five films.Voting for fewer than five films will result in having your votes DELETED. No exceptions.This final round of voting will be left open through Thursday, February 7. The top 10 films will be revealed on Friday, February 8 unless tiebreakers must take place.*Now that’s out of the way, it’s time to vote for your favorite five filsm from the remaining 50 films carried over from the first round of voting. If you have a Facebook or Twitter account be sure to share this poll with others. It would be great to get the widest range of opinions possible. Now get to voting!NOTE: Be sure you vote for at least five movies and keep track of how many you’ve voted for. Even voting for only four will cause your votes to be deleted. PAY ATTENTION TO THE RULES.I have shut the poll down and won’t be bringing it back online. The results are being unfairly skewed in certain directions and therefore won’t be representative of an evenly balanced vote.I may attempt to do this again in a couple weeks, but it will only be open to registered users if I do.* If there are films tied within the top ten there will be lightning voting rounds to break all ties. SHARE TWEET Show CommentsPlease enable JavaScript to view the comments powered by Disqus. MoviesTVStreamingGamesTrailersDVDContact UsAdvertisePrivacy PolicyTerms of Use monitoring_string = "df292225381015080a5c6c04a6e2c2dc"AdChoicesAdChoices ComingSoon.net is a property of CraveOnline Media, LLC, an Evolve Media, LLC company. ©2016 All Rights Reserved CopyrightLooking for movie tickets?Enter your location to see which movie theaters are playing

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> Mark Burnett: 'God Was Present On Set Of The... Mark Burnett: 'God Was Present On Set Of The Bible'By WENN on 14 March 2013 Tv mogul Mark Burnett is convinced he felt the presence of God while filming new religious epic The Bible in the Moroccan desert after a timely gust of wind swept through the set after a speech by Jesus Christ.The reality show mastermind teamed up with his actress wife Roma Downey to bring the stories from the holy book back to the small screen, with Portuguese actor Diogo Morgado as the son of God, and he reveals the whole cast and crew were left speechless during one scene featuring Jesus and Nicodemus because they really believed a higher power was watching over them. He says, "The hand of god was on this. We were there for five months in the Moroccan desert. One night there's a scene where Nicodemus steals away at night to talk to Jesus... and he asks and he says, 'They say you can see the kingdom of heaven'. And Jesus says, 'You too can see the kingdom of heaven. You've got to be born again.' He says, 'What do you mean, how can I be born again?' He said of the Holy Spirit, 'Spirit is like the wind' - and at that moment the wind came out of nowhere. A sustained wind for 30 seconds..." Downey adds, "As if we turned on wind machines, it just blew through the village, it was extraordinary." The History Channel mini-series has already proved to be a big hit on U.S. Tv - the first episode of the 10-hour drama became the highest-rated cable show of the year (13) when it premiered earlier this month (Mar13) to 13.1 million viewers.Contactmusic

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Dirty Dancing tour hits East Midlands At last the wait is over. Over 25,000 fans have already bought their tickets in eager anticipation of seeing the smash-hit stage production Dirty Dancing, which opens at Nottingham’s Theatre Royal tonight (Tuesday, February 12). Due to overwhelming demand since the show went on sale last February, the producers of Dirty Dancing have had to add two extra matinee performances to the popular show’s three-week run.Jonathan Saville, director of sales and marketing for the Theatre Royal Nottingham, said: “The demand for Dirty Dancng tickets has been phenomenal right from the moment we announced the show was coming to Nottingham at the beginning of last year. Having seen the show myself I know that our audiences will find it’s definitely worth the wait! “I would encourage anyone who hasn’t yet bought a ticket to contact our box office as soon as possible. We have only very limited availability on certain performances now, with most performances completely sold out. It’s definitely one of this season’s hottest tickets”. Written by Eleanor Bergstein, script writer and co-producer of the phenomenally successful 1987 film, the production features all the much-loved characters and original dialogue from the iconic film with exciting extra scenes added in.The tantalising dance sequences and brand new choreography come alive on stage, set to all the hits from the unforgettable soundtrack, such as ‘Do You Love Me?’, ‘Hungry Eyes’ and the Academy Award Winning ‘(I’ve Had) The Time Of My Life’, plus many more songs that weren’t on the original recording, making the show a truly extraordinary live experience. Over five million people worldwide have now seen this sensational production, with the London show alone having been seen by over one million audience members. Having opened in London in 2006, Dirty Dancing – The Classic Story On Stage was sold out six months in advance. The show played for five triumphant years at the Aldwych Theatre, breaking all box office records with advance ticket sales of over £15 million, which made it the fastest ever selling West End show.The first ever UK tour opened in Bristol in September 2011, and has since broken box office records across the country, making it one of the most successful tours in UK history. Paul-Michael Jones, who has attracted huge critical and public acclaim on the tour so far, continues to star as ‘Johnny Castle’, one of the most iconic roles in popular culture, made famous around the world by Patrick Swayze in the 1987 smash hit movie. Paul-Michael trained at Laine Theatre Arts, graduating in 2007. His theatre credits include ‘Eddie’ in Mamma Mia! (Prince of Wales), ‘Jack’ in Jack & The Beanstalk (Victoria Theatre, Halifax); We Will Rock You (Cologne) and dance captain in Fame – the Musical (European tour). He has also represented England as a Latin American and Ballroom Dancer, as one of the top two English couples, at The World Championships in Singapore.American performer Jill Winternitz stars as ‘Baby’. She has a strong theatrical background, having trained at RADA before playing a wide range of roles including Ophelia in Hamlet, and the Prioress in The Canterbury Tales.For more information or to book tickets please contact Box Office on (0115) 989 5555 or online at www.trch.co.uk Sign in

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Home > Movies & TV > Pirates of the Caribbean: On Stranger Tides Super… Pirates of the Caribbean: On Stranger Tides Super Bowl TV spot casts off By It wasn’t the most anticipated of last night’s trailers premiering during Super Bowl XLV, but our new look at Pirates of the Caribbean: On Stranger Tides tried to make its case for the May blockbuster. The minute-long TV spot — which doubled the length of most of last night’s competing trailers — is largely comprised of footage seen in previous looks at Tides, but there’s a bit more development of the story and a fair amount of swordplay. It’s not the most compelling collection of clips for those who have been keeping up with he movie, but the May 20 release is fast-approaching now and Disney is probably trying to avoid showing too much. The first Pirates movie was an unexpected success — who knew a theme park ride could be turned into such an action-packed swashbuckling adventure? — but the two that followed failed to impress critics and fans alike. Chicago and Nine director Rob Marshall takes over for previous series helmer Gore Verbinski in Stranger Tides, and he’s brought along two new faces which make this fourth movie very appealing: Ian McShane (Deadwood‘s Al Swearengen!) as the fearsome pirate Blackbeard and Penelope Cruz as his daughter Angelica. They’ll be joined of course by Johnny Depp’s Jack Sparrow and Geoffrey Rush’s Hector Barbossa while previous series regulars Orlando Bloom and Keira Knightley are left on the sidelines. The Super Bowl TV spot shows only slightly more of McShane and Cruz than we’ve previously seen, and credit goes to Disney for keeping the mystery surrounding the two characters alive. With fans still smarting after the disappointment that was At World’s End, the third movie, McShane and Cruz — not to mention the Blackbeard character himself — ought to help bring crowds who are curious to see what the two seasoned actors bring to the experience. Marshall is a wild card as well, though as long as no song and dance numbers suddenly break out we should be all good. Check out the new trailer right here.

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Bobby (UK - DVD R2) Scott McKenzie takes a trip back in time to see the murder of Robert Kennedy... Feature Bobby tells the story of an assorted group of characters who inhabit and work in the Ambassador Hotel in Los Angeles on June 4th 1968. Their activities lead up to the assassination of Senator Robert Kennedy, who had just won the California Presidential primary and looked certain to win the race to the White House. The characters must come to terms with their relationships and their places in a world that stands on the edge of major change, just not the change they were all expecting. What is clear before even taking the disc out of the case and putting it in the DVD player is that a huge number of actors and actresses were drawn to this movie by more than just money. The relatively low budget of $14 million could easily have been splashed by a major studio on any one of the headline stars at the peak of their career. Anthony Hopkins, Sharon Stone and Demi Moore in particular have all commanded paycheques of this magnitude so what makes Bobby so special? For a start, the opportunity for all of these stars to work together acted like a snowball effect once Anthony Hopkins was on board. This is neatly summed up by director Emilio Estevez’s interview in the Making of featurette when he says that within minutes of each other, Anthony Hopkins and William H Macy ran up to him on set and announced their excitement at working with each other. The screenplay covers the relationships between a large number of characters, but is rarely in a rush to get the exposition out of the way, allowing the heavyweights to bounce off each other. The scenes with Hopkins and Harry Belafonte have such an easy-going atmosphere that I could have watched a whole movie of them waxing lyrical and seeing Christian Slater holding his own against William H Macy made me wonder just how he ended up in Alone in the Dark and Hollow Man II. Even though it’s safe to assume the political ideals of Robert Kennedy were instrumental in drawing some members of the cast to the movie, Emilio Estevez’s screenplay was also a critical factor. This was a labour of love for him and he spent many years trying to get it made even when he didn’t have a screenplay, but the story he tells is almost as compelling as the story of the man who inspired it. Unlike some movies based on historical events that attempt to conceal the moments of dramatic licence, Bobby positively revels in the fictionalisation of the story. Estevez draws inspiration from photographs of people and events of the day and works backwards, using these moments as the climaxes to the multiple story threads. This of course means that aside from the archive footage, none of what happens on screen ever happened and a slightly greater leap of faith is necessary to buy into the story than would normally be necessary for a movie based on real events. Another complaint that could be levelled against Bobby is the degree of political intent behind the movie. Many of the storylines are based around issues that were close to Robert Kennedy’s heart, from the Vietnam war to racism, so it’s safe to say that people of differing political persuasions will take different things away from the movie (very diplomatically put if I do say so myself). Yes, it does have a pro-liberal slant but certainly no more than Crash, which I’d say is a comparable movie in structure and intention. The only complaint I have about the movie is that as we reach the end of the second act and get ready for the assassination, Estevez needs to get a large number of happy endings out of the way and we end up with a substantial part of the movie that probably equated to a few pages of screenplay that said nothing more than ‘they smile at each other’. That said, I found Bobby to be very entertaining in a Sunday afternoon non-threatening kind of way, with clever editing used to blend filmed sequences with archive footage. It wears both its political and fictional hearts on its sleeve so I can fully understand why some may be turned off, but after telling a great story with such an impressive cast, I’m hoping Emilio Estevez gets back behind the camera soon to give us more of the same. Video Bobby is presented with a 2.35:1 anamorphic picture. Looking back on a period in history with reverence, there’s no surprise that most of the scenes are bathed in a warm golden glow. It’s not quite to the same level as the sepia tones used throughout The Illusionist but works well at taking the viewer back in time. Only the scenes in the kitchen have a more clinical white tone. The archive footage (some of which also shows up in the documentary Hearts & Minds) is mainly used in montage sequences, although in the final scenes it is edited into the action. No major attempt is made to find a common ground between the quality of the two types of film, which is another example of how Emilio Estevez has no qualms about separating truth from his fictionalisations. Although there are imperfections in the stock footage, I couldn’t find any problems with the rest of the film, with strong colours, good detail and no noticeable areas of interference in the darker scenes. Audio In a movie that focuses on a large number of people, it’s important to make sure the viewer appreciates the hustle and bustle of a busy hotel and the 5.1 surround track does that very well, most of all in the kitchen scenes. Some scenes move slower than others, although the score changes at times to increase urgency at certain moments and keep the story moving. The surround effects, music and dialogue are all pitched at appropriate levels and while this may not be a track that will have your neighbours banging on your wall and asking you to turn it down, it certainly enhances the viewer’s appreciation of the events on screen. Extras The disc opens with skippable trailers for Hannibal Rising, The Illusionist and The Painted Veil. The theatrical trailer for Bobby is also included and there are two featurettes available. The first is a standard ‘Making of’ that includes all the expected interviews and behind-the-scenes footage but goes into decent detail about Estevez’s motivation for making the movie and he recounts a great anecdote about how he overcame writer’s block. The second featurette shows a panel of eyewitnesses from the Ambassador Hotel and they recount their views on Robert Kennedy and their memories of his assassination. Overall For those who are willing to put their disbelief on hold for a couple of hours, there’s a lot to enjoy in Bobby. It’s a well-written and inventive movie acted out by a dream Hollywood cast and offers as much entertainment as political sentiment. The extra features are slight but do complement the movie well and enhance the viewing experience by drawing attention to the intricacies of the work that has gone into creating a fictional account of a real historical event. Crash: Director's Cut (US - DVD R1) Alone in the Dark (UK - DVD R2) Fargo SE (UK - DVD R2) Hearts & Minds (UK - DVD R2) Illusionist, The (UK - DVD R2) Review by Scott McKenzie This movie was a complete trial to sit through though the last 10 minutes did redeem it somewhat. I admire Emilio Estevez for trying to contribute something meaningful but the sad truth is is that he's just not talented enough. I loved this movie. One of my favorites of 2006. Every actor was really good. Making of Bobby, Eyewitness Accounts From The Ambassador Hotel, Trailers Laurence Fishburne, Heather Graham, Anthony Hopkins, Helen Hunt, Lindsay Lohan, William H Macy, Demi Moore, Sharon Stone, Elijah Wood

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directed by Ken Loach UK 1979 When honest young Tolly is forced on the run with 'Black Jack', a villainous ruffian, adventure and mishap are never far away. As the two enter a world of body-snatchers, private lunatic asylums and travelling fairs they find friendship in the most unlikely places. Based on Leon Garfield's popular novel, Ken Loach's Black Jack is a children's adventure film set in the 18th Century. With Chris Menges' beautiful photography, enchanting performances by its charismatic young cast and Loach's gentle, observational style - seen in his earlier feature Kes (1969) - Black Jack received the Critics' award at the 1979 Cannes Film Festival. Excerpt of review from BFI located HERE Theatrical Release: January 22nd, 1982 (Finland) DVD Review: BFI - Region 0 - PAL 1.66 Original Aspect Ratio Average Bitrate: 7.45 mb/s English (Dolby Digital 2.0) Studio: BFI Widescreen letterboxed - 1.66 • Deleted Scenes (4:41) • Theatrical Trailer • Director's Commentary • Fully Illustrated Booklet DVD Release Date: June 21st, 2010 Keep Case Chapters 13 Comments Well, the BFI has done it again. Following their recent business model, they've plucked a relatively obscure British film from the wayside and given it the attention that it so richly deserves. This time they've picked Ken Loach's "Black Jack", a late 70s period drama that had gotten lost amongst his most famous works. Hopefully this new edition, a slightly revised director's cut no less, will earn the film the audience that it lacked in its initial release. Although the film is primarily seen through the eyes of a child, it is in no way a children's film. The themes of murder, love and insanity are dealt with the complexity that they require and easy answers are never just around the corner for Loach's characters. However, I would recommend the film slightly older viewers, say a mature pre-teen, like the film's main characters. While the slow, picaresque narrative main seem foreign given the hyper kinetic fare that is usually marketed to them, the story is ultimately one that they can learn a great deal from. As a youth who does his best to preserve both his own humanity and the lives of those around him in oftentimes violent situations that he neither asked for nor controls. Although Tolly doesn't always make the right choice, he's a good and caring human being, which in itself makes his journey valuable to a younger audience. Although the film has gone through a full restoration, the image is still not as strong as one might have hoped for, but this is largely because of choices made by Loach himself. As he reveals in his commentary track, while the indoor scenes were filmed in 35 mm, the outdoor shots were recorded on 16 mm. The end result is rather on the grainy side, but is as Loach intended. There are some instances of damage that still crop up every now and then, but on the whole, the film probably looks as good as it ever will now. What's more, given Loach's involvement with the disc's production, we're guaranteed that this is the film was meant to look. There is very little room for complaint on the audio. Mastered in Dolby Digital 2.0, the film's lovely orchestral score comes off strong. However, the character's speech can be a bit of a problem, not because of any mastering issues, but because like Altman, Loach chose to use overlapping dialogue with frequent improvisation. When you combine this with the character's thick accents, then you have dialogue that is not at all easy to understand. Fortunately, the disc comes with some excellent English subtitles for the hearing impaired which fixed all of the aforementioned difficulties. All in all, I was quite satisfied with the track and found no unwanted background noises. Aside from a trailer we're treated to a handful of extras here. The most valuable, of course, is the feature commentary by Loach where he discusses the film's production, his unique stylistic choices, and the changes that he made for this release. I've never listened to a commentary track by Loach before, but I found this one informative and entertaining, and would gladly listen to another. In addition to the commentary, there's also a series of deleted scenes that while entertaining, probably didn't belong in the final cut. Finally, there's another one of the BFI's tremendous booklets with essays on the film and its participants. All in all, this is another great release and one that I can give high recommendations to without any reservations. You should check this one out. - Brian Montgomery DVD Menus

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So, What Happens After Leonardo DiCaprio Wins His Oscar? by John Boone 4:01 AM PST, February 22, 2016 Playing So, What Happens After Leonardo DiCaprio Wins His Oscar? Leonardo DiCaprio wasn't sure he even wanted to win an Oscar the first time he was nominated. "I remember being really paranoid about ever having to go up in front of a billion people," the 41-year-old actor recently recalled to ET. He was 19, and the movie was 1993's What's Eating Gilbert Grape. "I didn't quite have the concept that if you ever gave a speech at the Oscars, like a billion people are watching you," he continued. "So, as soon as I heard that, I remember saying, 'I really don't want to have a speech even prepared, 'cause I don't want to go up there.'" He ultimately did lose that first nomination -- for Best Actor in a Supporting Role, playing Johnny Depp's developmentally disabled younger brother, Arnie Grape -- to Tommy Lee Jones for The Fugitive. DiCaprio lost again in 2005, when he earned his first ever Best Actor nomination for The Aviator, to Jamie Foxx for Ray. Two years later, he was nominated again for Blood Diamond and lost to Forest Whitaker forThe Last King of Scotland. In 2014, the actor earned his fourth nomination for The Wolf of Wall Street. He lost to Matthew McConaughey for Dallas Buyers Club. It was that last loss that birthed the narrative of "Poor Leo." WATCH: A Trail of Heartbreak: Leonardo DiCaprio's Near Misses at Oscar Glory It sprung from memes -- movie stills of DiCaprio crying photoshopped next to Oscar statuettes -- and went viral. The idea that, for whatever reason, one of the biggest movie stars of a generation could not win the top honor in his field. Despite winning three Golden Globes, four National Board of Review awards, and, hell, two Teen Choice Awards, DiCaprio's career was reframed following the 2014 Oscars as that of the constant loser. He became the Academy's Susan Lucci, 15 nominations shy of deserving the status. DiCaprio's work over the past decade has since been reevaluated, now seen as calculated attempts to grab another Oscar nomination and ultimately the award itself. He did the prestige biopic (J. Edgar). He did the period piece (Revolutionary Road), even reuniting with Kate Winslet -- who was nominated for Titanic. His movies were exclusively directed by lauded filmmakers like Martin Scorsese (The Departed) and Ridley Scott (Body of Lies) and almost always arrived in theaters during Oscar movie season. As is the case with Django Unchained, he poured his literal blood into the work -- he cut his hand during a monologue and just went with it. Leonardo DiCaprio Talks Epic Facial Hair in 'The Revenant,' Gushes Over Supportive Mom And when you look at The Revenant, the latest film for which he's nominated, it checks all the boxes. Period piece. Directed by Alejandro González Iñárritu, who swept the Oscars last year with Birdman or (The Unexpected Virtue of Ignorance). DiCaprio slept in animal carcasses during the shoot and ate raw bison liver. He nearly got hypothermia and, though he doesn't get raped by a bear, he is mauled by one -- a scene that sticks with you long after the credits roll. He's called it the "most difficult" film he's ever done. And if it has all been calculated -- if every acting decision DiCaprio has made has been in a monomaniacal attempt to win an Academy Award -- it's about to pay off. He won the Golden Globe. He won the SAG Award. Still, if you ask DiCaprio about everyone saying this is his year, he will evenhandedly tell you, "We'll see. That's all beyond our control at this point." He's been forced -- by himself, some may say -- into a position where he can't show his excitement about the Oscars, lest he be upset by another actor and people use that excitement to further mock him. In private though, DiCaprio must know he is going to win. NEWS: Kate Winslet Attending Oscars in Hopes of Seeing Leonardo DiCaprio Finally Win Photo: Getty Images So what happens once he wins and the "Poor Leo" narrative comes to its end? What kind of movies will Academy Award winner Leonardo DiCaprio make when he has nothing left to prove? The actor-producer has a few Oscar fodder-y projects lined up -- a reteaming with Scorsese to play real-life serial killer H.H. Holmes in The Devil in the White City and his passion project, The Crowded Room, about the first person to use multiple personality disorder as a defense in court -- but perhaps it's time he does something unexpected. Perhaps his career -- and whatever narrative is next ascribed to him -- can benefit from broadening his scope. He doesn't need to angle for that second Oscar right away, does he? With that said, here are three suggestions worthy of an Oscar winner: A Comic Book Movie: We're beyond the days of looking down on an Oscar winner for starring in Catwoman. DiCaprio himself, who passed on the opportunity to play Robin in Batman Forever and skipped over Spider-Man, allowing buddy Tobey Maguire to swing in, told The Short List, "They're getting better and better, as far as complex characters in these movies...I don't rule out anything." We have to imagine that Warner Bros. -- where the DC films are based -- and Marvel Studios have spitballed DiCaprio's name on more than one occasion. Now, it's time that he obliged -- with one caveat: We want to see DiCaprio do something more along the lines of what Will Smith is doing in Suicide Squad than what Ben Affleck is doing in Batman v Superman: Dawn of Justice. Our pick? Whatever director James Gunn would do with him in Guardians of the Galaxy Vol. 2. Some sort of complete transformation -- but a fun transformation -- like Academy Award winner Benicio Del Toro underwent to play The Collector. Perhaps DiCaprio could play a villain like Ego, the Living Planet, who is literally a sentient planet. Hey, we bought Vin Diesel as a talking tree and he doesn't even have an Oscar nomination... Something on TV: DiCaprio is long overdue for a return to the medium that started his career. He hasn't appeared on the small screen since '92 and the landscape has radically changed since. TV is where exciting new voices are telling innovative new stories. It's no longer all 24-episode network series -- we are in the golden age of mini-series. He should be taking meetings with HBO and BBC, Hulu and Netflix, maybe even FX and the History Channel -- why not? – to see what's on their slate. We're not deluded enough to think that DiCaprio would ever pop up on American Horror Story: Another Season of American Horror Story, but HBO, particularly, has a knack for turning Oscar winners into Emmy winners. Kate Winslet won hers for Mildred Pierce. Frances McDormand for Olive Kitteridge. You have to start EGOT-ing somewhere. If he's looking for something in his wheelhouse, Quentin Tarantino -- his Django director -- recently suggested he might turn the Elmore Leonard novel, Forty Lashes Less One, into a mini-series. This is a good idea! We can't imagine what these two would get up to if they had 10 to 13 hours to unleash on. Anything With a Female Director: The Scorceses and Iñárritus and Steven Spielbergs are fine, but DiCaprio has not worked on a project helmed by a woman since Agnieszka Holland's Total Eclipse in 1995. And that was the only time he's worked with a female director. The last time he made a movie written by a woman was 2010's Shutter Island. And it's not like Hollywood is lacking. As the industry actively looks to diversify -- so it says -- why is one of the biggest stars in the world not clamoring to work with, say, Kathryn Bigelow, the first woman to ever win Best Director? Her next film is a 1967 Detroit race riots crime drama, but there is probably a part in there DiCaprio could tackle. Or whatever Selma's Ava DuVernay signs on to next. Or Lynne Ramsay (We Need to Talk About Kevin). Even Sofia Coppola (Oscar-nominated for Lost in Translation). Anyone who can offer some fresh perspective on DiCaprio. Someone who is capable of pushing the actor outside his comfort zone -- in more ways than just eating bison liver. Here's a thought: Leonardo DiCaprio doing a romantic comedy may seem as farfetched as, well, Leonardo DiCaprio winning an Oscar if you asked anyone in 2014, but even just the idea of him teaming up with Nancy Meyers gets us excited. And look at what she did with two-time Academy Award winner Robert De Niro in The Intern! DiCaprio probably wouldn't win anything for it, but at this point, maybe that's OK, too. SHARE ON FACEBOOK

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Sophie Schillaci 'Secret Life of the American Teenager' Cast Talks Character Evolutions Ahead of Season 5 Premiere (Video) The beloved ABC Family series returns on Monday, March 26 with Shailene Woodley, Daren Kagasoff and Molly Ringwald. In four seasons of ABC Family’s Secret Life of the American Teenager, the teenage characters -- and their actors -- have grown and matured in front of a national audience. With season five of the hit series set to debut on Monday, March 26, The Hollywood Reporter asked Shailene Woodley, Daren Kagasoff, Francia Raisa, Megan Park and Molly Ringwald to reflect on the journey that has molded each of their characters into who they are today. VIDEO: 'Secret Life' Cast Spills Season 5 Secrets “Throughout the past four seasons she’s come into her own,” Woodley said of her character, Amy. “I think there’s always that one point in an adolescent’s life where there’s a catalyst that kind of springs them into becoming their own, and I think this season Amy’s becoming her own.” “From the day I got the job to now, he’s done a complete spiral,” said Kagasoff of his character -- Amy’s fiancé, Ricky. “It’s been fun playing the bad boy and trying to get more endearing, I guess. It’s been a whirlwind.” Season four drew to a close with Ricky asking Amy to be his wife. The two teens already share a child together, but previews for the upcoming season premiere promise a “bombshell” of a surprise. Speaking with THR, Woodley hinted that there could be another baby on the way this season, but did not confirm who the parents might be. PHOTOS: 17 New Midseason Shows Premiering in 2012 Ringwald, who plays Amy’s mom, admitted to having a special fondness for the forthcoming season, saying: “I think it’s the most excited I’ve been since we started the show.” Asked for any teasers from her character, Ringwald kept mum. “I can tell you absolutely nothing,” she said with a smile. “We are sworn to secrecy.” As for Amy’s journey, Woodley was a bit more open to what the future would bring. “Right now she’s currently learning what it’s like to live with someone and to make that full commitment,” she said. “You can be super in love with someone, but there’s always bumps and there’s always obstacles in the road. Right now she’s forced to experiment with those obstacles and handle them in a mature way.” Keeping the drama at an all time high, Raisa told THR that Adrian’s obsession with Ricky continues in season five, but also acknowledged a new level of maturation for the wild child. PHOTOS: PTC vs. TV: 10 Television Show Controversies “Adrian in general is just crazy and I have so much fun with her,” the actress said. “She’s grown up a lot since season one with her style, with her as person, her character, her demeanor. She’s definitely been growing up and I think with the loss of her baby, she’s different. She’s a lot more mature. Secret Life’s Grace, played by Park, will return to her good girl roots this season, but fans can also expect a new and unexpected romance on the horizon. “I really started out as the innocent good girl cheerleader and I kind of went through a rebellious phase,” Park said of Grace. “Now I’m back to a good girl phase, so it’s been like a rollercoaster ride so far, but it’s been cool because I feel like every teenager goes through that in high school anyway. It’s just like I’m reliving my high school years kind of in a sense.” For more teasers and spoilers from season five of Secret Life, click here. Tune in to ABC Family at 8 pm ET/PT for the show’s spring premiere on Monday. Sophie Schillaci

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Endemol Studios to Adapt French Political Thriller Series 'Kingmakers' for U.S. TV Rebecca Leffler FACEBOOK The LA-based company is adapting the series that starred Nathalie Baye and earned record ratings for broadcaster France 2. French politics will be given the royal treatment stateside when Endemol Studios brings hit Kingmakers to U.S. television for an adaptation of Gallic hit Les Hommes de l'Ombre. The adaptation marks Endemol's LA-based studio's first third-party scripted format acquisition since its launch less than a year ago. The politically-charged primetime thriller stars Nathalie Baye and was produced by Tetra Media Studios and Macando. The series, which means "Men of the Shadows" in French, was created by Carlos co-writer and Golden Globe winner Dan Frank alongside Frederic Tellier, Charline de Lepine and Emmanuel Dauce and co-stars Bruno Wolkowich and Gregory Fitoussi, who will also be seen in Jeremy Piven-starrer Mr. Selfridge on ITV. Endemol has started discussions with talent for the U.S. version, but no deals have been signed to date. PHOTOS: TV's Top Offices Les Hommes de l’Ombre aired on public TV network France 2 starting last January and saw record ratings. It gave the broadcaster its best ratings for a French scripted program since 2008 with an 18.4 market share and more than five million viewers for each episode. The Gallic version is in production on a second season. The story centers around two political communications advisors who will stop at nothing to see their candidate win a tight race after the French president is assassinated. Endemol Studios is doing its homework and is consulting with professor of public service and director of the Center for Public Leadership at the Harvard Kennedy School, senior political analyst for CNN and former White House advisor to four U.S. presidents David Gergen on the show. “The propulsive storytelling, coupled with potential global television appeal made this political thriller a must-have for us,” Endemol’s CEO Philippe Maigret said, adding that the “unique and ambitious format” will make for “a relevant, timeless and compelling American drama with original characters that bring the audience behind the scenes of high-stakes politics, starting with a presidential political campaign.” For creators and producers de Lepine and Dauce, the transition to U.S. screens won’t be difficult. “We created ‘Les Hommes de l’Ombre’ to showcase the behind the scenes of French politics, but we used writing techniques from series embraced by a broad audience, including American series to make sure the storylines will translate universally,” they explained. The LA-based Endemol Studios recently sold Red Widow to ABC for a prime time slot and their Low Winter Sun will shine on AMC, both of which are Endemol-scripted adaptations. The company launched last August on US turf after the success of its breakout hit, AMC’s Hell on Wheels. Rebecca Leffler THRnews@thr.com

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Justin Timberlake Tops Elton John’s Wishlist For His Biopic ‘Rocketman’ Justin Timberlake Tops Elton John's Wishlist For His Biopic 'Rocketman' Simon Dang When Justin Timberlake played Elton John for David La Chapelle in his video for “This Train Don’t Stop There Anymore,” we figured it would be the first and last time he’d take on the role of the music icon. But it looks like that tongue-in-cheek performance has placed him right on the top of John’s wish list for his upcoming biopic “Rocketman.” “We’re making an announcement about that very, very soon,” John recently told the L.A. Times. “We have a director on board, and then it’s just going to be a matter of getting the script exactly the way we want it. Lee Hall has written a script — he wrote ‘Billy Elliot‘ — and then we’ll start trying to cast and plan. I don’t know [where we’re going with casting]. I’ve got a wish list of people. No. 1 on my wish list is Justin Timberlake, because he played me before in a David LaChapelle video of ‘Rocket Man’ and was superb.” Pretty inspired casting, no? The original annoucement revealed that the film would not be a conventional biopic (which ones are these days?), that it will rather feature “choreographed sequences, powered by John’s famous songs, will be used to take audiences on a journey from the musician’s childhood through his longstanding artistic relationship with lyricist Bernie Taupin and on to his rise to fame and riches.” John now reiterates that notion, revealing that it “would be a jukebox musical in earnest, maybe with a couple of new songs. You never know. Because it’s going to be a surreal look at my life, and not just a factual look at my life, more in the manner of a ‘Moulin Rouge!‘ I just don’t want it to be a normal biopic because my life hasn’t been like that. And it only goes up to when I go into rehab in 1990. It starts with me going into rehab and ends when I come out.” John doesn’t just namedrop “Moulin Rouge!” for no reason either, adding that he “tried to get Baz Luhrmann, but Baz is so busy. We can’t announce it yet, but we have got someone on board that we’re very excited about.” The idea of a biopic of someone being produced by that very person didn’t sound like an attractive prospect but if an intriguing helmer/star combo came on board, our interest would definitely be piqued. Here’s the La Chapelle video which shows Timberlake in full costume as John. Here’s a closer look as well. This Article is related to: News and tagged Elton John, Justin Timberlake, Rocketman More From IndieWireJustin Timberlake and Juno Temple Join Woody Allen’s Untitled New Movie‘Trolls’ Trailer: DreamsWorks Animation Unleashes A Family-Friendly Acid TripJustin Timberlake’s ‘Can’t Stop The Feeling’ Video: Watch The Mark Romanek-Directed Feel-Good Clip‘Trolls’ Clip Introduces New Wisecracking Character Cloud Guy – Watch Comments sp May 22, 2016 12:43 am Please, no !

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Browse Music98 Degrees Biography Read More 98 Degrees (or 98°) was an American adult contemporary boy band consisting of four vocalists: brothers Nick and Drew Lachey, Justin Jeffre, and Jeff Timmons. The group was formed by Timmons in Los Angeles, California. Unlike most boy bands, they formed independently and were later picked up by a record label, as opposed to being assembled by a label or a producer. They have sold over 10 million records worldwide and achieved eight Top 40 singles in the US.[citation needed]... Biography from Wikipedia Kavana Blue of IBPDSC BBMak Brian Littrell 5ive Stations With 98 Degrees 98 Degrees Radio Plays 98 Degrees along with similar artists like: BBMak, Shanice, Jordin Sparks, Blake Lewis, David Cook… Girl Crazy Boy Bands Plays the best heart throbbing boy band hits of all time. Big Time Rush, Menudo, Blackstreet, 2gether, 112, Az Yet, One Direction, New Edit… 90s Prom Night Plays the best hits from the 90s that will be sure to take you back to your 90s prom night! UB40, Aqua, Deee-Lite, Los del Río, Snap!, Usher, Marky Mark and The Funky Bunch… Videos From 98 Degrees I Do (Cherish You) The Hardest Thing Give Me Just One Night (Una Noche) If She Only Knew She's Out Of My Life

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'Parental Guidance' teen star is acting veteran Bailee Madison adds Bette Midler, Billy Crystal to her co-stars list Published 10:32 AM MST Dec 21, 2012 On the day of our interview, 13-year-old Bailee Madison was still reeling from her guest spot on "The Tonight Show With Jay Leno" the night before. It's not every day you talk to a teen girl who has just schmoozed Leno. "Jay's a cool guy," says Bailee, with an air of nonchalance. Madison is as down to earth as a kid in her shoes can be. She's touring the country promoting her new movie "Parental Guidance," which stars Bette Midler, Billy Crystal and Marisa Tomei (it opens on Christmas Day). Her first leading role was in 2011 when she played opposite Katie Holmes in the horror film "Don't Be Afraid of the Dark." She's probably best known for her recurring role as Maxine on the television show "Wizards of Waverly Place," and garnered a large following from her performance in Disney's "Bridge to Terabithia."Here's the At The Movies interview with Bailee Madison.ATM: How was it working with Billy Crystal and Bette Midler?BM: Working with Bette, especially, it was like a little mini Broadway show every day. She is a hoot. And Bette is a lot like me: she loves cooking, she loves Broadway and she loves music. We'd spend time talking together about the things we liked. Both Bette and Billy are very kind people.ATM: Do you think you learned anything from them? They are both show biz veterans. Did they give you any parental guidance?BM: I think what they showed me was how important it is when you're on a working movie set to treat others with respect. I really enjoyed watching them work.ATM: What's your character like in "Parental Guidance."BM: Her name is Harper. She's 12. She has a lot going on. She's an uptight violinist and a child prodigy. At the same time, she has her first crush on a boy at school. She's a bit awkward and dorky, but I think that's something that everyone can relate to. When Bette comes in as her cool and laid back grandmother, she's kind of torn between pleasing her mother, but she really likes how loose and fun her grandmother is. Harper is a great character and she has lots of different emotions in the movie and that was fun to play.ATM: How did you break into acting and movies?BM: I did my first commercial when I was two weeks old for "Office Depot." Then, when I was 5, I went to New Zealand for six and a half months to shoot "Bridge." The next year I was in Los Angeles for the premiere of that movie, and it kind of started there. ATM: Where do you consider home?BM: I'm from Fort Lauderdale, Fla., and my mom likes us to go back to Florida because she says it keeps me grounded and she wants me to always remember where I came from.ATM: Do you have any other passions besides acting?BM: I love being the national spokesperson for Alex's Lemonade Stand. It's an incredible story. Alex Scott had childhood cancer and she realized that, even though she was only 4 years old, that she could make a difference and maybe help kids with cancer so they wouldn't have to suffer like she was suffering. I share the story of Alex whenever I can. She is someone who really showed that you're never too young to make a difference.ATM: Do you have plans for the future to stay in acting?BM: My goal one day is to write and direct. I want to do it all. ATM: You have worked with so many famous names: Tobey Maguire, Natalie Portman, Jake Gyllenhaal, Hilary Swank, Adam Sandler, Jennifer Anniston, Katie Holmes and now Bette Midler, Marisa Tomei and Billy Crystal. Is there anyone you would love to be in a movie with?BM: I would love to be in a movie with Sandra Bullock. She always chooses wonderful roles.ATM: I became one of your followers today on Twitter. Now I'm number 159,207. How do you like being able to interact with your fans on social media?BM: It is very cool, but at the same time it's scary. They are watching you and you have to please them. The fan base I have is not just girls, and it's not just kids, it's adults, too. But I will say that I do like being involved in the whole process this way. I'm so thankful for my followers; I don't like to refer to them as fans. Without them you can't do anything. Tweet

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The title refers to some literary advice doled out in the film by a college professor who suggests to his students that they shouldn�t be afraid of editing their own writing. But this based-on-fact look at some of the folks who eventually became known as the Beats � Allen Ginsberg, Jack Kerouac and William S. Burroughs, among them � here seen during their time as students at Columbia in the 1940s, also involves a murder.The victim is shown in the opening frames as the crime is being committed, after which the film flashes back to the situations leading up to the event. It�s a story that�s been pretty successfully covered up for the past half century by the perpetrator, who went on to a successful career as a news syndicate editor. But with all the principal players now gone, it was time to have it told.First-time feature director John Krokidas made all sorts of wise choices in his casting, especially in the film�s two leads: Daniel Radcliffe, rid at last of his Harry Potterness, as wide-eyed and innocent freshman Allen Ginsberg, and Dane DeHaan (�Chronicle,� �The Place Beyond the Pines�) as the more worldly and definitely controlling fellow student Lucien Carr.The film gives us a peek at Ginsberg�s less-than-idyllic family life � his poet father Louis (David Cross) was a caring man but frustrated over the emotional frailty of his wife, Naomi (an unrecognizable Jennifer Jason Leigh). Ginsberg was what would have been called in those days a nice young man. But Carr is portrayed as an enigma, a powerfully persuasive fellow who liked to make a scene, then stand his ground. Carr and Ginsberg were opposites that attracted, but only as friends and co-conspirators, with Kerouac (Jack Huston) and Burroughs (Ben Foster), all of whom plotted to turn the literary establishment upside down by infusing it with new, radical ideas.On the periphery of all of this was outsider David Kammerer (Michael C. Hall), an older man who made his way to Columbia on the trail of Carr, upon whom he had a crush.While the film remains solidly focused on the quickly developing maturity of Ginsberg as he follows, sometimes blindly, the larger-than-life path set by Carr, the other characters continually pop in and out of the background, almost always bolstering that main story.With Ginsberg and Carr, who would go on to enjoy a long career at United Press, right up front the whole time, ample opportunity is given to Radcliffe and DeHaan to really explore them, and both young actors are everything their director as well as audiences could hope for. Radcliffe shows off his ability to pull off a character arc that moves from being meek and timid to taking charge of his life and of the risks that go along with that decision. DeHaan, who grows more confident with each role (he�ll soon be seen as Harry Osborn in �The Amazing Spider-Man 2�), gives us a Lucien Carr who is a force to be reckoned with, a take-no-prisoners character who lets a few weaknesses slip through only when he�s not paying attention to his own actions.Director Krokidas and his co-writer Austin Bunn maintain a couple of atmospheres at the same time � one revolving around the excitement of youth and discovery that�s found right after a young person leaves home, and one that approaches luridness, when dealing with the fairly pathological dealings of Kammerer and Carr.The best part of all of this is that we get to see what was going on in the lives of many of these iconic people before they were who they became. The film ends up being thrilling and creepy and insightful. It will likely get viewers to forget about Harry Potter and to check out the life of Lucien Carr.Ed Symkus covers movies for More Content Now.KILL YOUR DARLINGSWritten by Austin Bunn and John Krokidas; directed by John KrokidasWith Daniel Radcliffe, Dane DeHaan, Michael C. Hall, Jack Huston, Ben Foster, Jennifer Jason LeighRated R

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/ News / Emmy nominationsMay 21, 2012Emmy nominations Historic Sandusky has received four regional Emmy® nominations for its documentary film, Hunter’s Raid: The Battle for Lynchburg, which included roles for several LC faculty, staff, and students. Lynchburg College announced a partnership with the nearby Civil War site in December 2011. The film, which debuted in May 2010, was nominated in the categories of Documentary – Historical; Audio; Director – Post Production; Editor – Program (Non-News). View the trailer. The nominations were announced by the National Capital Chesapeake Bay Chapter of the National Academy of Television Arts and Sciences. Winners will be announced June 16 at the 54th Emmy® Awards event in Washington, D.C. Written and directed by Historic Sandusky Executive Director Greg Starbuck, the 55-minute documentary describes the tense days in June 1864 when Gen. David Hunter and his army of 18,000 Union soldiers are ordered to capture Lynchburg. The Sandusky house was commandeered by Hunter as union army headquarters, but Hunter was driven out of Lynchburg by Confederate Gen. Jubal Early, saving the Hill City from major destruction. “The nominations are an honor and a testament to the community support Historic Sandusky received in making this film,” Starbuck said. “We could not have made such a quality film without the intensive involvement by hundreds of local citizens. It was also memorable that we premiered the film at Lynchburg College and that numerous LC faculty, staff, and students appeared in the production.” The development of the non-profit partnership between Sandusky and LC will honor the mission of the Historic Sandusky Foundation, which is to preserve and interpret the Sandusky site as a public museum and to collect, preserve and disseminate information about the history of Sandusky, its inhabitants, and the role of Lynchburg in the Civil War. Starbuck continues his role as executive director of Historic Sandusky while Barbara Rothermel, director of LC’s Daura Gallery, serves on the Foundation Board of Historic Sandusky. Sandusky is a registered Virginia Historic Landmark and is listed on the National Register of Historic Places. The house is one of the finest examples of Federal style architecture in Virginia’s Piedmont region and is on the Civil War Trails tour.

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NCIS has generally been known to go for big, explosive two-parters during November sweeps. But this season, TV's most-watched drama wanted to go a little deeper. Check out a behind-the-scenes NCIS video In last week's episode, Gibbs (Mark Harmon) & Co.'s investigation of a Navy lietenant's murder implicated Joe Westcott (guest star Brad Beyer), a Marine who was suffering from post-traumatic stress disorder after having lost many of his men during an ambush overseas. Since the show had already built a season-long theme of "fallen heroes," the story fit naturally. "We've been talking to the Navy and the Marines about doing a PTSD story for a long time," executive producer Gary Glasberg tells TVGuide.com. "It's a delicate subject matter, and a really important subject matter. We wanted to make sure that we did it properly and handled it properly. So there was a tremendous amount of research that went into this story, and I'm really proud of it."The research was also intense for Beyer, who says he spent days watching and studying interviews with soldiers impacted by PTSD. "The one thing that stood out in my head is a lot of these guys that come back, you don't necessarily know what's wrong with them. It can be really subtle," Beyer says. "These guys are always reliving it. They can't decipher between memory and what's going on in the present. I did the best I could to bring a sort of heightened sense to the confusion." NCIS scoop: Jericho alum books November sweeps arc Indeed, in the first hour, Westcott discovers that the attack he believes he and his friend suffered was all in his head. Instead of being the victim, he was actually the aggressor. Believing he recognized someone who led the ambush that killed his men, Westcott gave pursuit and initiated the skirmish that ultimately got his friend killed. That realization forces Westcott to finally seek help. However, in the closing moments of last week's episode, it's revealed that the man Westcott attacked perhaps was involved in the ambush on Westcott's unit. "Within the hallucinations and not being able to determine what's real from memory, there is some actual, real truth," Beyer says. "By picking apart the situation to see what was real, they can get to the bottom of what actually happened. It just confirms that he's not absolutely crazy, that he's not dreaming up all these things."But that doesn't take away from that fact that Westcott is suffering and in need of help. The question remains: Does he have a support system that will allow him to seek treatment? "His family and his relationships with his brother and his father are very complex," Beyer says. "His father was an ex-Marine. These people aren't really great with outwardly showing their emotion and their affection. When his father finds out there's something wrong, he doesn't know how to handle it. The first thing he does is become judgmental instead of sitting down and saying, 'Son, what's the matter?' It's a big hindrance, and that's part of the hurdle that he's got to overcome to get better." Losties? Trekkies? Which TV show has the best fans? Vote now!Enter Gibbs, a fellow former Marine who perhaps knows better how to help. "They bond over the fact that they have been in combat at different points in their lives and understand the trauma and the responsibility and all the things that go along with it," Glasberg says. "Gibbs recognizes what this kid is going through, and decides to sort of take him under his wing."Adds Beyer: "Gibbs' willingness to help Westcott and stand by him through all the craziness allows him to come to terms with everything, get the help that he needs, and clear the air. Gibbs sees something in Westcott that he recognizes in himself."Will that bond provide opportunities for Westcott to return to the show down the line? Beyer says it's possible, but either way, he's happy to have been able to share this story with viewers. (NCIS stars Mark Harmon and Pauley Perrette will also appear in a public service announcement about PTSD at the end of the episode.)Check out photos of the NCIS cast "The thing with guys suffering from PTSD is that it's a work in progress," Beyer says. "They're constantly working on it and receiving help and treatment. The guys who served in World War II and Korea, there was no diagnosis for it. It was just kind of untreated. "I'm really, really pleased from the positive response that we've received from people in the medical fields and the military fields," Beyer continues. "They're seeing it as a really honest and positive portrayal. So I feel validated by that. I really wanted to bring as much honesty to the role as I could. I think it worked, so I'm very, very proud of it."NCIS airs Tuesdays at 8/7c on CBS. View original NCIS Tackles PTSD: Can Gibbs Save the Day? at TVGuide.com

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New Images of Shredder and Ronan the Accuser Make Us Miss Movie Trading Cards For whatever reason, collectible cards don’t seem to be a big deal these days – unless you’re talking Magic: The Gathering and things like that. I miss the old days of opening up a wax pack, flipping excitedly through the contents, then breaking a tooth on an ancient and flavorless piece of rock masquerading as bubble gum. I really miss movie cards – with all these superhero movies coming out each summer, this seems like the perfect era for their return. Since that doesn’t seem to be happening naturally, we decided to help the process along on our own. Here are what we think you might find on the back of a card commemorating Teenage Mutant Ninja Turtle's Shredder and Guardians of the Galaxy's Ronan. Think of this like the tale of the tape before each heads into battle in their respective films. Real Name: Oruku Saki Affiliation: The Foot Clan Actor Portraying the Character: William Fichtner First Appearance: Eastman and Laird’s Teenage Mutant Ninja Turtles #1 (May 1984) Background: Shredder has had a lot of incarnations over the years, but his origin story has remained largely consistent across all the different TMNT films, comics and animated shows. Oruku Saki is a gifted martial artist with a genius-level IQ who joins the Foot Clan to avenge the death of his brother. The death came at the hands of Hamato Yoshi, who – depending on what version of TMNT you choose to follow – was either Master Splinter’s original owner, or became Master Splinter himself. Shredder rises through the Foot Clan ranks, and basically spends his downtime trying to get revenge. Various entries in the franchise have tweaked the story and made changes, but generally speaking, it sticks with the idea of Saki seeking vengeance against Splinter for the death of his brother. Interesting Facts: In 1991’s The Making of Teenage Mutant Ninja Turtles: Behind the Shells, Kevin Eastman says he got the idea for Shredder’s imposing armor from seeing some “large trapezoidal cheese graters.” The character was originally referred to as “The Grater” or “Grate Man.” Fresh Prince of Bel-Air actor James Avery voiced the character for seven seasons of the 1987 animated series. Ronan the Accuser Real Name: Ronan Affiliations: Kree Empire, Phalanx, Starforce, Annihilators, United Front Actor Portraying the Character: Lee Pace First Appearance: Fantastic Four #65 (August 1967) Background: Ronan has a rich history since first being introduced by Stan Lee and Jack Kirby in 1967. The character was born in Hala, the Kree capital, and grew up to become a Kree accuser – the equivalent of our judges. He was so good at the job that he eventually became the supreme accuser of the Kree Empire, or Ronan the Accuser if you’re into the whole brevity thing. Over the course of the years, Ronan has been at the center of countless Kree plots, which have found him squaring off against Captain Mar-Vell and trying to take over the Kree Empire for himself. Interesting Facts: Ronan has appeared in several Marvel animated series – including Avengers: Earth’s Mightiest Heroes. He also turned up in the Lego Marvel Superheroes game, where he was voiced by John DiMaggio. Ronan’s powers are numerous, and enhanced by an exoskeleton body-armor suit. He possesses superhuman strength and speed, and can use his armor to become invisible or freeze people into states of suspended animation. He also has access to the Universal Weapon, which can transmutate matter in a variety of different ways. MORE FROM AROUND THE WEB: Movie Pics, Geek Teenage Mutant Ninja Turtles, Guardians of the Galaxy, Shredder, Ronan the Accuser Which one of these people is in the movie Criminal? Ellery Sprayberry

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"American Idol" alum Kris Allen plays Plymouth By DAN SEUFERTUnion Leader Correspondent | April 25. 2013 12:59PM Kris Allen NAME THAT TUNE: Kris Allen is generating a buzz for a tour that includes not only his own tunes, but cover songs chosen by fans for each show via his Twitter and Facebook accounts. In 2008, Kris Allen says, he was just another musician trying to make it big.These days he's touring the country, playing his hits while mixing in fan-chosen covers of tunes by Justin Bieber, The Eagles, Elvis Presley and The Lumineers. The road trip will include a date at the Flying Monkey Movie House and Performance Center in Plymouth on Thursday, April 25.With two albums and an "American Idol" championship under his belt, he's drawing great reviews and good crowds on his latest tour.Not bad for a kid from Conway, Ark."I feel pretty lucky," Allen said. "I found a career in music, and that's always been my dream."I was going to return to college and get a decent job so my wife and I could have a comfortable life together, which would have been fine," he said. "But things worked out a different way, and I'm really happy."His big break, he says, came when he performed his song "No Boundaries" and won the eighth season of "American Idol" in 2009. "That was amazing," he said. "L.A. was beautiful, and I was loving the experience, but I never thought I'd win. I kept going back every week and I was still in it, and then I was the last one."I had a really good time doing it, but it was important because it allowed me to make a career of this."Now 27, he has made the big time by many measures. His second album, "Thank You Camellia," featured members of The Fray, Train, The Script and Switchfoot, and his "Out Alive Tour" is generating a good buzz for his cover songs, which he allows fans to choose through his Facebook and Twitter accounts."This tour is really focused on the crowd, getting people on their feet, and there's a lot of singing involved," he said. "The band is really talented."Tickets to the Flying Monkey show, which will be opened by Jillette Johnson, are $15 and $25. For more information, log onto flyingmonkeynh.com or call 536-2551. HEADED TO NH: Kris Allen, an "American Idol" champ, will play the Flying Monkey Movie House and Performance Center on Thursday, April 25. FOLLOW US Committee hears about gambling and ruin Public input on state budget May 9 AG says January Mont Vernon police shooting justified Meadowbrook takes on a new name and sponsor Debate on lead sinkers and loons continues State Supreme Court overturns DES decision

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Adam-12 and Numb3rs, New This Week on DVD Telemystery, your source for one of the most comprehensive selections of detective, amateur sleuth, private investigator, and suspense television mystery series, mini-series and made-for-television movies, now available or coming soon to DVD or Blu-ray disc, is profiling two series being released this week.— ◊ —Martin Milner and Kent McCord are LAPD officer Pete Malloy and Jim Reed in Adam-12, a spin-off of the popular series Dragnet created by Jack Webb that aired on NBC for seven seasons.Endorsed by the actual Los Angeles Police Department, the series featured everything from authentic department badges and vehicles to the genuine police headquarters, patrol stations, and law enforcement procedures. Adam-12 was the first television series to more realistically display the joys and frustrations of being an officer in the late 1960s and early ‘70s and chronicled, with great detail and accuracy, events from real LAPD cases.The Adam-12: Season Five DVD set of 4 discs contain the 23 episodes that aired on NBC from September 1972 through March 1973, including a cross-over episode from another Jack Webb series, Emergency!— ◊ —Numb3rs, a crime drama about an FBI agent who recruits his mathematical-genius brother to help the Bureau solve a wide range of challenging crimes in Los Angeles, ended its 6-year run earlier this year.Numb3rs stars Rob Morrow and David Krumholtz as two brothers who take on the most confounding criminal cases from very distinctive perspectives. The series depicts how the confluence of police work and mathematics provides unexpected revelations and answers to the most perplexing criminal questions.The Numb3rs: Season Six DVD set of 4 discs contain the 16 episodes that aired on CBS from September 2009 through March 2010.— ◊ —Visit the Telemystery website to discover more television mystery series currently available on DVD and Blu-ray disc.

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Your browser does not support iframes. Read a digital copy of the latest edition of The Sentinel News online. Directors step in to help one another for Shelby theater production -A A +A By Beth Herrinton-Hodge Friday, February 15, 2013 at 4:00 am (Updated: March 22, 8:33 am) more Toddler dies after being struck by car SHELBYVILLE CITY COUNCIL: Property tax drops for first time in 10 years Rick Reinle didn’t set out to direct the stage production of Harvey, which this weekend begins a 2-week run at Shelby County Community Theatre. He initially tried out for the lead.By Cheryl Van StockumBob Zielinski (left) and Rick Reinle are co-directing Harvey at Shelby County Community Theatre. And therein lies a drama, too.Buy this photo View Map But a twist of plot – and fate and friendship – persuaded Reinle to change his plans, and he stepped into the role of director with Bob Zielinski (co-director) when Zielinski faced extensive surgery. When the curtain rises tonight on this comedy, these two men will share the director’s chair in a unique partnership that has carried them both through some tough times this season. Zielinski begins the story: “The theater board announces their annual production schedule in December. The play, Harvey, was announced in late 2011 for a February 2013 run. I was on board and ready to go. “In May 2012, I was diagnosed with cancer. I offered to step down, but the board said, ‘No.’’’ Neither Zielinski nor the board knew what course his disease would take once he started treatment. They were confident that if he was well enough, he’d follow through with directing the show. They were confident in his directing ability, as well. “In October 2012, my cancer went into remission,” Zielinski said. “My doctors, my wife, Betty, and I decided it would be a good time to have surgery to remove the cancerous tumor. But I wanted to do the initial work-up of the set design and set the blocking of the show before my surgery. I worked these out before the holidays.” This is where Reinle steps in: “I auditioned for the lead. At the same time, Bob talked with me about his cancer. He asked if I would step in and direct when he went in for surgery.” Reinle was directing SCCT’s holiday show, The Best Christmas Pageant Ever, when Bob approached him to direct. “I told Bob, ‘I’ll do whatever you need. Paint sets, run the sound booth, anything.’ It’s what you do for theater friends,” he said. Reinle and the Zielinskis have known one another for years. They have worked on various productions, both in Shelby County and in other local community theaters., “I knew that I would help him out if I could,” Reinle said. So instead of playing the lead alongside the full cast, Reinle inherited a cast selected by Zielinski. “Different directors have different working styles,” Zielinski said. “I knew that it would be important to find a director who worked in a similar style as mine. Rick brings continuity to the production. Said Reinle: “Bob put together a great cast. They understood that this production would be unique, with our shared directing. Many of the actors I’ve worked with before. But there are a few new faces whom I’ve enjoyed working with and getting to know.” Said Betty Zielinski: “There’s a bond that develops among people who work on a production together. Because you dig deeply into yourself to develop your character, you open up so much. You develop an emotional bond with the other actors, and with the director. You even get close to new actors very quickly. You become a theater family.” The theater family gathered around the Zielinskis during this past year, as they faced diagnosis, treatment and surgery. And then the lot twisted, and that same family was encircling Reinle with support and diversion, too. He was facing the illness and death of his sister. “I moved in with my sister this [past] summer, when she became very ill with her own bout with cancer,” Reinle said. “The fall was a very emotional time for me, as I watched her health deteriorate. The theater has been a place where I could get away and take on a completely different focus. It’s therapeutic.” His sister, Elaine Nation, died on the same day that Bob Zielinski had his cancer surgery, Jan. 3. “My theater family has really helped me hold it together over these past few months. I don’t know what I’m going to do at the end of this production of Harvey. I won’t have this diversion any longer,” Reinle said. Betty Zielinski offered some reassurance. “Even when we don’t see one another for a few months, with theater friends, you pick right back up with the friendship and the closeness when you get together again,” she said. A show to inspire Almost six weeks have passed since Zielinski’s surgery and Nation’s death. Zielinski has been back at the theater working with Reinle and the cast for a little more than a week. “I’m very pleased with what Rick has done with it,” Zielinski said. “He’s adjusted the blocking and rehearsed the show. I’ve learned things about directing from the way he has pulled it together.” The two directors said they are looking forward to opening night and the energy the audience brings to the production. “In an intimate theater like this one, the audience is as much a part of the show as the actors on stage,” Reinle said. “I don’t want to know who, specifically, is sitting in the audience, but I enjoy having the audience present. They give us so much.” Harvey, by Mary Chase, is a comedy in three acts about a man and his white rabbit. The play originally was produced in November 1944, when the United States had been involved in World War II for three years. People were in need of a little comic relief, a little whimsy. Harvey provided this: comedy, and inspiration for the imagination. “If we do our job right,” Zielinski says, “the members of our audience will walk out of the theater absolutely sure they have seen a tall, white rabbit. Those who believe will see him. He who does not believe may be followed home by a 6-foot-6-inch-tall white rabbit!” That sounds like the kind of whimsy and inspiration that Zielinski and Reinle – and all of us – could use in 2013, as well.

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For CW President Mark Pedowitz, spinning off a show from his network's biggest hit was a no-brainer."I'm a big believer if you have something that is working and you can incubate it and find a way to get it on the air, it's a good way to get pilots done," Pedowitz said of the upcoming Vampire Diaries spin-off Sunday at the Television Critics Association winter previews. Winter TV: Get the scoop on the must-see new showsThe pilot, which will air as an episode of The Vampire Diaries on April 25, will focus on Joseph Morgan's Klaus and the members of the Original Family of vampires in New Orleans. "Klaus was the founding father of New Orleans, and the show is set in that venue," Pedowitz said. "Klaus is just a great character and the Original Family has such dysfunctional family dynamics. We felt it was a great way to go to take the show."Also on board for the show is Phoebe Tonkin's Haley, which Pedowitz said ruled out some rumblings about Tonkin playing the lead role in the network's Amazon, an origin-story take on Wonder Woman. "We haven't thought about her in terms of Wonder Woman," Pedowitz said. "We're waiting to see the script and are busy casting Diana."Keep reading for more highlights from Pedowtiz's executive session, including other pilots in contention for next season as well as which shows have a shot at returning.Returning winter shows: Where we left off and what's nextThe Selection: The Hunger Games-esque pilot failed to receive a series pickup during last year's development season, but Pedowitz said he's read a retooled script and it remains in contention for next year. "It's very well done," he said.Supernatural: Pedowitz said no official decision has been made about a ninth season for the show, but prospects are high. "We are pleased with how Wednesday night has turned out, with Arrow being a bonafide hit and Supernatural actually gaining viewers again," he said. "I think creatively the show is in a great place and there's always a good shot."What about Hart of Dixie and 90210? Similarly, Pedowitz made no determination about the shows' futures. (He is a fan of Dixie, which he said is performing on-par with expectations). However, speaking specifically of 90210, he said it's important that long-running - shows such as One Tree Hill and Gossip Girl - get a proper ending. "I'm a big believer in giving fans a very satisfactory conclusion," Pedowitz said. "It's something we as a TV industry need to do. [Viewers] who invested that time deserve that sort of gift."Check out winter TV's hottest eye candy!Battle Royale: Following earlier reports that The CW was pursuing adapting the violent Japanese novel about a group of high schoolers who are dropped on an island and must kill each other, Pedowitz confirmed that the project wouldn't be moving forward. Although he did reach out to ask about obtaining rights to the book, "we were not able to do anything" Pedowitz said, noting that his interest in the project pre-dated the shootings in Aurora, Colo. and Newtown, Conn. "We are not planning on doing anything with Battle Royale. ... Nothing happened."Beauty and the Beast: Pedowitz is happy with the freshman show and noted its recent win at the People's Choice Awards. "We're very pleased with it creatively," he said. "It's on par with Secret Circle in terms of total viewers. Based on the passion of fans, we think we have something."The L.A. Complex: Pedowitz said he was "disappointed" that the Canadian broadcaster the CW partnered with on the show failed to pick it up for another season. Although the CW tried to find a way to keep the show going on its own, he said it didn't work economically.Reality Rules: Pedowitz said the CW renewed Oh Sit! and Breaking Pointe as part of the network's strategy to get "more original programming so we are on the air on the summer." Additionally, this summer the network will add two new unscripted shows: The Hunt (a competition series that puts contestants into the wilderness with no supplies) and The Perfect Score, a half-hour series that features contestants taking compatibility tests to find an ideal mate. Pedowitz also remains committed to America's Next Top Model, which is in production on a new cycle that includes male models. "The show is a strong utility player," Pedowitz said.Web Series: Pedowitz said the network is working on more original online content, including an animated series called Gallery Mallory, featuring the voices of Justin Hartley and Misha Collins, as well as a series featuring Hart of Dixie's Wilson Bethel. View original CW Boss on Vampire Spin-Off, Wonder Woman and the Futures of Supernatural, 90210 at TVGuide.comOther Links From TVGuide.com America's Next Top ModelOne Tree HillJoseph MorganSupernaturalJustin HartleyMisha CollinsGossip GirlPhoebe Tonkin90210Wilson BethelThe Vampire DiariesHart of DixieThe Hunger GamesThe L.A. ComplexBreaking PointeBeauty and the BeastOh Sit!

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Click inside to see what you should be watching on the Internet and on TV. On TV The cult TV hit “Arrested Development” returns with new episodes this Sunday morning. Netflix is releasing all 15 episodes of Season 4 at 3 a.m. EDT on Sunday, and you can only see them on the subscription service. If you want to watch the seasons that made the show such a hit, Netflix has those as well, as do other streaming services, and IFC will air all 53 episodes starting at 6 a.m. EDT on Saturday. Hot video: ‘Star Wars’ X-Wing Star Fighter made of Legos Lego built a replica of an X-Wing Star Fighter made completely of Legos. See it below.

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The Ghosts of Jeju Purchase Film Je Ju Island, Jeju, Pax Tibi Productions, Regis Tremblay, Savejejunow, The Ghosts of Jeju This Kind of Review Makes It All Worthwhile Je Ju Island, Pax Tibi Productions, Pope Francis, Regis Tremblay, The Ghosts of Jeju Pope Francis to Visit South Korea JFK, Pax Americana, Pax Christi, Pax Tibi Productions, Peace Movement, Regis Tremblay, The Ghosts of Jeju, Uncategorized, Veterans For Peace, War Episode #3 The Spirit of Gangjeong 11:57, Jeju, The Ghosts of Jeju Jeju Island 2015: Where it All Began August 14, 2015 Regis Tremblay Leave a comment Gangjeong Village, Jeju Island, South Korea. August 15, 2015. Three years later. Much has changed in Gangjeong. The massive, and I mean massive, naval base to accommodate America’s “Pivot to Asia” is nearing completion. Seeing it made me angry, and reminded me once again of my dear friend Dud Hendrick’s powerful words in The Ghosts of Jeju. He asked, “Is there any place so remote, so beautiful, so sacred as to be inviolable by the U.S. military? And when you think about it, there is no such place.” Base housing in foreground fronting Tiger Island. From Diego Garcia in the Indian Ocean to all of the islands of the Pacific from Hawaii down to the Marshall Islands including Japan, Okinawa, Jeju, Guam and the Philippines, America has killed millions of indigenous peoples, stolen their land and their resources and made them colonies of the U.S.. These are all horrendous crimes against nature and humanity. When one visits Hiroshima, Okinawa and Jeju, as I am doing now, the truth about America’s past of global aggression becomes tragically clear. If Americans can admit that the entire American narrative is a lie, then, and only then, can Americans take responsibility for the actions of their government and hope to become an equal member of the human race. What hasn’t changed in Gangjeong is the 8 year, ongoing, non-violent protest against this base. While there are fewer activists because of the attrition caused by over 600 arrests, 30 imprisonments, and fines in the hundreds of thousands of dollars, the brave few remain. The daily ritual of 100 bows at 7 am followed by Catholic mass and rosary at 11 am continue without pause. Because dozens of cement trucks and construction vehicles come and go all day and during the mass, the police clear the gates to allow them to pass. It is remarkable how gentle and respectful the police are these days, obvious that some sympathize with the activists, but avoid conversation and eye contact. And as always, the action ends with several spirited songs and, the now famous, Gangjeong dancing. The struggle here in Gangjeong is an important symbol for the peace, human rights, and environmental movements around the world. I believe the spirit of revolution is stirring in all parts of the planet and our only hope for survival is for a massive, global convergence of awareness that rises up and says NO to the evil systems that threaten our very lives. Jesuit father Kim, when I asked him why the Jesuits have established a permanent house here and why he remains, said, “because there is evil on the other side of this wall, and we must remain here to stop it.” Fuel This: Uncategorized Japan: Another Occupied Country August 1, 2015 Regis Tremblay Leave a comment This is a view of the beautiful Oura Bay in Henoko, Okinawa where the U.S. military has begun construction of a massive multi-function base to include two airstrips, a deep water base to accommodate U.S. aircraft carries and supply ships. I was fortunate to go out into Oura Bay in a boat with other visitors including reporters from the two local newspapers, one of whom ran an article with a picture of me. Camp Schwb is a massive U.S. Marine base on the shores of Oura Bay. The new base will be constructed to the right of this photo. The plan is to dump tons and tons of gravel t and concrete to fill in the bay in order to extend the runways out into the bay. As the S. Koreans destroyed the beautiful seashore in Gangjeong Village, the Japanese are doing the same to accommodate America’s plan to add more bases and military installations. In the process, America continues to displace indigenous people, take their land, and destroy some of the most remote, beautiful, pristine and sacred places all over the world. This was our welcoming. The Japanese Coast Guard and national police. There were at least 20 boats with teams of Coast Guard patrolling the waters and denying our boat entry into the restricted area. Two large yachts commanded the operation. I spent three days in Henoko filming interviews with local mayors and activists from July 26-29. I will return to Okinawa for three more days of filming and interviewing where I will be aided by several women who are professional interpreters and a young man who was born and raised in Tokyo to a English father and Japanese mother. So, he’s fluent in both languages, actually sounds like an American. Ian Schimizu has also been indispensable, carrying my heavy bags full of equipment. It becomes readily apparent that like S. Korea, Japan is an occupied country with some 50,000 US military personnel on more than 40 bases. But what is most alarming is the fact that 70% of the American presence is located in Okinawa. I’ve been overwhelmed by the number of people who have seen The Ghosts of Jeju and who have welcomed me with open arms and offered to assist me in any way they can. Mariko Kurioka, a Japanese woman who was part of a team that translated Ghosts into Japanese, presented me with $2,400 from sales of the film in Japan and Okinawa. Today, Sunday, August 2nd, I fly back to Okinawa for three more days of filming before continuing on to Hiroshima for the 70th anniversary on August 6. Fuel This: Three Minutes to Midnight 10 Days and Counting July 15, 2015 Regis Tremblay Leave a comment Dear friends and supporters, With only ten days to departure for Japan and my month-long trip to the Pacific, I’m getting a little anxious and nervous. There are still many loose ends and things to do in preparation. Keeping me up at night. I’m relieved that my biggest logistical problem, lodging in Hiroshima, has been solved. Thanks to local peace activists, I now have a place to stay. Because my stay overlaps with the 70th anniversary of the atomic bombing of Hiroshima all of the hotels and guest rooms are booked. Lodging has also been confirmed on Majuro in the Marshall Islands and Guam. Lodging in Gangjeong Village has been secured by my dear friend, Joyakgol, the activist who accompanied me on our cross-country screening tour of The Ghosts of Jeju in 2013. I’ll spend ten days on Jeju, actually working about 40% of the time, and will take time on this trip to see everything on this beautiful Island that I missed in 2012. I’ll use this stop to rest up a bit after 15 grueling days in Japan and to visit with the many friends I made. My greatest concerns regarding my two short visits to Okinawa have been relieved, thanks to the efforts of a Japanese-American living in NYC and her contacts in Okinawa, along with the assistance of Edo Heinrich-Sanchez, an American veteran and activist living there. Lodging has been confirmed, translators found, and a series of location shoots and interviews have been organized. My stay in Hawaii has not as of yet been finalized, but local activists have offered to help. I want to thank Veterans for Peace National, VFP #001 – Tom Sturdevant Chapter here in Maine, the Smedley Butler Chapter in Boston, Pax Christi Maine, and the Global Network Against Weapons and Nuclear Power in Space for being major sponsors of the film. Thanks also to several local VFP Chapters around the country for their contributions. And, of course, thanks to everyone who has contributed financially towards this trip. Without you it would not have been possible. If you are receiving this and have not contributed, it isn’t too late. Every little bit helps. Your contributions will be completely tax-deductible if you contribute on the Global Network Against Weapons and Nuclear Power in Space website: http://www.space4peace.org/ Simply click the “Donate” button, enter the amount you wish to donate and in the comments declare it is for Regis Tremblay’s film. Should you wish to send a check, make it out to Global Network and mail it to 209 River Rd., Woolwich, Maine 04579. Be sure to put Regis Tremblay in the “for” line. Thank you for investing in independent media. Regis Tremblay Trip to the Pacific is Just Around The Corner July 2, 2015 Regis Tremblay Leave a comment Thanks to all who have contributed to date. Only about $1,000 short of my goal with only three weeks to go before departure. There is still time to help out if you have been intending to do so. As I reported last time, I have booked the entire trip: Kyoto, Hiroshima, Okinawa, Jeju, The Marshall Islands, Guam, and Hawaii. I leave on the 25th of July and return September 5th to Maine. From my research, I’ve learned a great deal about issues and events that have been unreported and classified for many years. For example, I had no idea that nuclear tipped short range missiles were deployed to Okinawa during the Cuban missile crisis, and thereafter more than 1200 nuclear missiles were deployed in silos until the 1970′s. I am so looking forward to spending 10 days in Gangjeong Village where I will film the progress of the base which is about 85% completed. And, I will have a leisurely time to interview Gangjeong villagers, Fr. Mun and the Jesuits as well as spending quality time with my many friends. From Jeju, I fly to the Marshall Islands where several interviews with national politicians and local residents have been scheduled. I will make a day-night trip to Kwajelein to show the massive U.S. military presence there that is the heart of the missile testing program conducted from Vandenburg Air Force base in California. The Marshall Islands have not only suffered immensely from the detonation of 67 atomic bombs, but the Marshallese have been brutally treated by the U.S. military since 1946 when thousands were lied to and relocated to a tiny atoll where thousands live in abject poverty. All kinds of cancers have caused premature births and deaths from the contamination of their land and the food chain. The Marshallese are also among the first to be threatened by rising sea levels caused by global warming. Where will the island people go when their islands are covered by the sea? On the way to Hawaii, I’ll make a brief overnight stop on Guam, another island that has been occupied by the U.S. military. Finally, I will spend a full week in Hawaii with activists involved in protests against the militarization of their homeland, the illegal annexation of Hawaii by the U.S. in 1898, and the construction of the 18 story high new telescope on Mauna Keo. Many of us are aware of Monsanto and GMOs, but few are aware of what five of the world’s largest biotech chemical corporations have been doing in Hawaii. For the past 20 years, Monsanto, Syngenta, Dow AgroSciences, DuPont Pioneer and BASF have performed over 5,000 open-field-test experiments of pesticide-resistant crops on an estimated 40,000 to 60,000 acres of Hawaiian land without any disclosure, making the place and its people a guinea pig for biotech engineering. (See more at: http://www.occupy.com/article/hawaiians-against-monsanto-struggle-reclaim-paradise#sthash.3rv1q2G1.dpuf) In spite of all of these imminent threats to our existence on this planet, the people of the Pacific islands are rising up and providing the rest of us with hope and an example of what it will take to overcome the evils of Capitalism. My hope for this film is to educate and inform people around the world about the threats to our existence and encourage them to do something to stand in solidarity with all of the oppressed people of the world. The only hope to turn things around is for a world-wide and peaceful uprising against the dark forces that would destroy us. If you have planned to contribute, please do what you can. Also, please share this with like-minded friends. Itinerary Set for Pacific Trip June 22, 2015 Regis Tremblay Leave a comment The good news is I have been able to book the entire filming itinerary to the Pacific. Thank you to all who have contributed. That said, I am still short about $1,000 to cover some lodging, meals, local transportation, and incidentals. With one month left before I depart, I feel confident that my goal will be reached. You can see the entire itinerary at the end of this post. Please contribute whatever you can. Every little bit helps. Thank you for investing in independent media. I am forever grateful. Pacific Itinerary July 24 Boston to Tokyo and Osaka July 25 Overnight in Osaka July 26 Fly from Osaka to Okinawa arriving 19:50 on Peach Airlines Flight # MM219 July 29 Fly to Osaka leave at 13:40 on Jetstar July 29 – August 2 Global Network meeting in Kyoto August 2 fly to Okinawa August 5 fly to Hiroshima staying at hotel August 6 70th Anniversary staying at hotel August 7 Visiting Hiroshima staying at hotel August 8 fly to Jeju Island arriving Jeju 8:20 pm…..via Incheon (arrive 11:10 am - 8 hour layover….depart Incheon 7:05om) August 18 Fly to Marshall Islands Majuro (probably do a a day/night side trip to Kwajelein returning to Majuro.) August 25 Fly to Guam and spend the night August 26 Fly to Honolulu, Hawaii to September 2 September 2 Fly to Seattle – visit with my sister to September 5 September 5 Fly home to Maine Fuel This: 11:57, Three Minutes to Midnight Update – Funding For Three Minutes to Midnight May 26, 2015 Regis Tremblay Leave a comment As of today, May 26, 2015, $6,000 has been raised. Thanks to all who have contributed so generously. But, in order to get to the Marshall Islands, which I consider to be of upmost importance for the film, and to cover lodging, meals, and local travel, another $4,000 is needed. As of today, I’ve booked travel to Kyoto, Okinawa, Hiroshima, and Jeju where I will arrive on August 8th. Bruce Gagnon, Coordinator of the Global Network Against Weapons and Nuclear Power in Space says, “have faith” that the money will come in. If you have planned to contribute, please do what you can so that I can secure the cheapest flights and finalize my plans. Also, please share this with like-minded friends. Please contribute again whatever you can. Fuel This: 11:57, The Ghosts of Jeju, Three Minutes to Midnight The Marshall Islands – Three Minutes to Midnight Most Americans never knew that between 1946 and 1958 the United States decided that the Marshall Islands would be a good place to test atomic bombs. Over the course of those 12 years, 67 atomic bombs were detonated over Bikini Atoll and the surrounding Islands. Dud Hendrick first brought it to my attention in The Ghosts of Jeju, but what I didn’t know was how the U.S. showed no regard for the people of the Marshall Islands before, during and after the tests. Previously classified and top secret documents indicate that the Americans looked down upon the people of the Marshall Islands as savages and did almost nothing to protect them from these blasts. Afterwards, the United States denied and attempted to hide the devastating effects to human life, food supplies, water, and the environment. One test, code-named Bravo, was one thousand times the strength of the bombs dropped on Hiroshima and Nagasaki. Bravo was just one of 67 tests that accounted for one hundred and eighty megatons of nuclear yield….the equivalent of a Hiroshima sized bomb going off every day for twelve years. (Don’t Ever Whisper by Giff Johnson) It wasn’t until 1978 that tests were done that confirmed the health effects on the peoples of the Marshall Islands. People were dying of cancers and women were giving birth to babies with horrendous defects. I also learned that thousands of U.S. Navy and military personnel involved in those tests had also suffered serious health issues caused by radiation. And last year I watched the riveting testimony of Marshall Islander Kathy Jetnil-Kijiner, pleading with the entire assembly of the United Nations to do something about climate change because rising sea levels will soon wash over and destroy the Marshall Islands and the Islands of Oceania. You can watch the six minute presentation by clicking the link below. After reading Giff Johnson’s book, Don’t Ever Whisper, about his deceased wife Darlene Keju and how she spent her short life fighting for the victims of radiation poisoning, and after seeing Kathy Jetnil-Kijiner’s moving speech at the United Nations, I knew that I had to go to the Marshall Islands to interview survivors, local activists and politicians for my film because the people of the Marshall Islands are closer to midnight than three minutes for they have suffered the effects of those terrible instruments of mass destruction and are now concerned about the imminent catastrophic effects of rising sea levels due to climate change. In The Ghosts of Jeju I was able to bring to light the untold history of the United States on Jeju Island and throughout Korea from 1945 to the present. In my short film, The United States of War, I exposed the lies and myths about American Exceptionalism and the truth about the American Way of Life. 11:57 – Three Minutes to Midnight will continue in this same vein, exposing the untold history of the United States in the Pacific from Hawaii, Japan, Okinawa, Jeju down to the Marshall Islands. There is a pattern that dates back to when the white European explorers came to the Americas, committed genocide and stole the land and resources from the indigenous American peoples. Since 1798, the United States has militarily invaded other countries more than 500 times. In my seventy years on this planet, America has been at war for all of them and today America has brought the world to the brink of extinction with the very real threat of nuclear war with Russia and China. 11:57 – Three Minutes to Midnight reveals more of the untold history of the United States and more about the imperial advance of this country in order to dominate the entire planet through full-spectrum dominance. The American Way of life and the global economy, fueled by predator Capitalism and based on an insatiable appetite for fossil fuels and slave labor in order to maximize profit also has the world on the brink of extinction due to the immediate and catastrophic effects of climate change. After three weeks of fundraising, enough money has been raised to reserve flights for the entire trip. What remains to be raised are funds for accommodations, food, local travel, rental equipment, and miscellaneous expenses. Thank you for investing in independent media. You will be proud that you played an important role in the making of this film. Thank you for whatever you can do to help. You can read the entire appeal letter and description of this film here: http://www.theghostsofjeju.net/1157-three-minutes-midnight-fundraising Fundraising Update for Three Minutes to Midnight May 3, 2015 Regis Tremblay Leave a comment With the threat of a nuclear Armageddon and the looming catastrophic consequences of climate change, the Doomsday Clock is now at three minutes to midnight. In one week, $4,135 has been raised. That is more than one third of the way to my goal of $10,000 that will cover travel and travel related expenses. I would like to add that I will be going to the Marshall Islands where the U.S. tested 67 atomic bombs between 1946 and 1958. I will interview the people there who have suffered the ill effects of radiation and will be the first to suffer the loss of their islands because of rising sea levels brought about by global warming and climate change. Fuel This: Three Minutes to Midnight, Uncategorized 11:57 – Three Minutes To Midnight – Fundraising April 26, 2015 Regis Tremblay Leave a comment Once The Ghosts of Jeju was completed, I knew there was an even bigger story that had to be told and last year I again came to you for assistance to make a return trip to Jeju. Unfortunately, I became ill two weeks before departure and the trip had to be postponed. This new film will begin with the 1945 atomic bombing of Hiroshima and Nagasaki and trace the imperial advance of the U.S. throughout the Pacific and its effects not only on the lives and livelihoods of the island peoples, but the degradation of the environment everywhere there are U.S. military bases or where the U.S. has conducted wars and war games. This film will document the effects of U.S. imperialism, through the personal testimonies and eyewitness accounts of activists and the indigenous peoples whose lives have been ruined or seriously degraded because of the American presence in their lands. It will also show the effects of the American military presence on their towns and villages and their pristine ecological environments, and it will document the massive popular uprisings against this U.S. presence and the complicity of their own governments in furthering the threat of war not only with China but Russia as well. If you have been following the news about the US-NATO provocations in Ukraine and along Russia’s border, as well as the so-called Pivot to Asia to check China’s expansion, you undoubtedly realize how dangerous and provocative these actions are. The threat of a nuclear Armageddon ending all life on Earth hangs in the balance. I’m sure that most of you are as troubled and concerned as I am about the effects of war making here at home and abroad. Millions of innocent people have been massacred throughout the Middle East, Afghanistan and Iraq. Hundreds of children and innocent civilians have already been killed by drone attacks. Simultaneously, there are no hopeful signs that anything meaningful will be done to mitigate the pending catastrophic effects of Climate Change that will make life on Earth unsustainable. No one can predict just when extinction will happen, but the threat of a nuclear exchange and the expected consequences of climate change are pushing the Doomsday Clock closer to midnight. The underlying cause of this dire situation is Capitalism and its voracious appetite to consume all of the Earth’s resources without adequate replenishment. In order to maintain its position of a unipolar superpower in the world, the United States, recognizing the economic threat of the emergence of China and a Chinese-Russian partnership, has the largest and most lethal military in the world to maintain that position. Here at home, as well as throughout NATO countries, and America’s allies in Japan and the Pacific, the costs of endless war are in the trillions of dollars and continue to rise every day. The results are extreme austerity spreading through all levels of society. Here in America, to pay for the ships, planes, bombs and missiles, and the costs related to keeping hundreds of thousands of troops in over 130 countries, social uplift programs, education, infrastructure improvements, renewable energy investments, light rail development, and even veterans’ benefits are being raided. The current Congress is also coming after Social Security, Medicare, and Medicaid. This is a global struggle that binds all of us together. And as John Pilger states, “Make no mistake it is an epic struggle. The alternative is not just conquest of far away countries; it is the conquest of us, of our minds, our humanity and our self-respect. If we remain silent, victory over us is assured.” My goal for this film is to continue to educate and open the eyes of Americans and people around the world about the most pernicious and destructive global forces that are threatening life on the planet. Therefore, the title, “Three Minutes to Midnight.” With nothing but word-of-mouth and many grassroots organizations, The Ghosts of Jeju is still playing in more than 15 countries, and it has been translated by volunteers into six languages. My goal for this film is $10,000 and that will cover travel and travel expenses to Kyoto, Hiroshima, Okinawa, Jeju, The Marshall Islands, and Hawaii on the return. I’ve been invited to attend the annual Global Network meeting in Kyoto, Japan from July 28 to August 2. Therefore I will need your help by June 1st. We already have an offer of a $500 donation to match the first $500 that I can raise. Some of you contributed last year and I still have $1,000 from that campaign. Please contribute again whatever you can. Fuel This: 11:57, Regis Tremblay, Three Minutes to Midnight 11:57 – Three Minutes to Midnight My new film in production since The Ghosts of Jeju. Fundraising campaign will begin this weekend. Examining the dual threats to extinction of life on Earth: nuclear Armageddon and Climate Change. Fuel This: Posts navigation Next → Buy Now Watch The Trailer Testimonials "It was a smashing hit....people were crying and they were clapping at the end.....I handed out the DVD's strategically to key leaders in various Swedish cities, and from Finland, Norway, Denmark, Germany, Japan and Mexico.....people passed the hat to send money to the village but I insisted they keep the money towards sending a representative from Sweden to the village ASAP......they loved the music, the story, and the resistance.....many people sent congrats to you....it's was a European opening night showing......5 stars. Add Russia to list of places I sent DVD home with....a man who works directly for Putin." - Bruce Gagnon A Film by Regis Tremblay Help Make A Difference Recent Posts Jeju Island 2015: Where it All Began Recent CommentsRegis Tremblay on “We The People” – Taking Back America One State At A TimeHelene on “We The People” – Taking Back America One State At A TimeRegis Tremblay on Jesuit Activists Protest in Gangjeong VillageMickey on Jesuit Activists Protest in Gangjeong VillageRegis Tremblay on Seoul Radio Interview and Short Video Take my Place in GangjeongArchives August 2015

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"To love another person is to see the face of God."If you had to sum up the theme of "Les Misérables" in one sentence, that line — which appears at the end of the film — would probably come the closest to capturing the essence of the story. The well-loved musical and now feature film is a tale about compassion and forgiveness, and how even those who have fallen from the light (or been pushed from it) are not beyond redemption.The story begins with Jean Valjean (Hugh Jackman), a man who was forced to spend 19 years in prison for the seemingly minor crime of stealing bread. Full of anger and bitterness at his unfortunate turn of fate, Valjean commits another crime soon after his release. Yet when he is caught by the authorities, he is freed by a selfless act of kindness from a bishop. Touched by the bishop's compassion, Valjean decides to make a new life for himself, burying the name and legacy of "Jean Valjean" in the past.However, he is hunted by the relentless Inspector Javert (Russell Crowe), who wants to bring Jean Valjean to justice for breaking parole — even though Valjean is now a well-respected man who has dedicated his life to helping others. As he endeavors to avoid Javert's capture, Jean Valjean crosses paths with a variety of characters, including a doomed prostitute named Fantine (Anne Hathaway), who entrusts her daughter Cosette to Valjean's care. The characters all are eventually caught up in one of the French revolutions, and the film culminates in a final confrontation between Valjean and Javert, in which Javert must choose between justice and mercy."Les Misérables" has proven to be a bit divisive in Hollywood. Although it's been nominated for a "best picture" Academy Award, some critics have been tough on the film. How you feel about the movie probably will depend on your thoughts about the original stage play, and how you feel about musicals in general.I think the stage play and the film both have their strengths. There's something magical about watching live theater; there's a certain energy that comes from being in the same room as the performers and watching the story unfold on the stage in front of you. Yet film as an artistic medium also has its advantages; the director is able to give us close-ups of the actors' expressions and use more elaborate sets.Like the original play, almost all the lines in the film are sung, similar to an opera. It does take a few minutes to get used to this. It's tough to pull off on film a script consisting almost entirely of singing, but I think it works, thanks to the line-up of talented performers.The strongest actors here are Hugh Jackman and Anne Hathaway, who pour their heart and soul into their performances. I was excited to see both were nominated for Academy Awards for their roles. Jackman sings with confidence and emotion, and you can sympathize with his character's struggles. Hathaway's rendition of one of the musical's most famous songs, "I Dreamed a Dream," is truly heartbreaking, and was one of the highlights of the film for me. Some of the stand-out newcomers were Eddie Redmayne as the earnest and idealistic revolutionary Marius and Samantha Barks as the tragic Éponine.Russell Crowe has received some criticism for his performance in the film, though I think the critics have been a bit too tough on him. While out of all the lead actors, he seems the least comfortable with the singing aspect of the film, I believe he was a good choice to capture the persona of Javert. It was perhaps unfair of the film makers to ask him to sing all the lines since he doesn't have as much music theater experience as Jackman.My favorite part of the film was the music; it's gorgeous and sweeping, and the major musical set pieces from the original play are well-represented here: the revolutionaries' rousing call-to-arms "Do You Hear the People Sing?"; Hathaway's gut-wrenching "I Dreamed a Dream"; and the epic ensemble piece "One Day More."In short, "Les Misérables" may not be a flawless film, but I genuinely loved it, and I left the theater feeling inspired. Although I wish director Tom Hooper would have relied a little bit less on close-up shots and had maybe featured more spoken dialogue, this is a stirring, faithful adaptation of the musical, and it's easy to see how sincere the director and the actors are about the source material. It's a movie I'd definitely recommend film fans watch before Oscar night. xxxxxxxxxxxxx

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Robert De Niro to Portray Bernie Madoff in Upcoming Film Nov 07, 2011 2:53 PM3,052 views • comments Robert De Niro is set to tackle the role of a lifetime as one of the most hated men in America, Bernie Madoff, in an upcoming biopic based on the book, Truth and Consequences: Life Inside the Madoff Family. De Niro will star as the former Wall St financial expert who swindled investors out of an estimated $50bn with a Ponzi scheme. Madoff's family have completely disowned him after the scandal broke loose and he was sentenced to 150 years in jail. The biography will serve as the basis for the film, which was written by Laurie Sandell and describes the Madoff's downfall and arrest over four years ago. Source: telegraph.co.uk

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Comic-Con: A Young Jeff Bridges and a New Trailer Debut at the Tron: Legacy Panel By Vlada Gelman Jeff Bridges looks 35 again, thanks to technology. At Comic-Con’s Tron: Legacy panel this afternoon, moderator Patton Oswalt pointed out that this was the film's third year at the Con. Three years ago, test footage was shown in the enormous Hall H to see whether there was interest in a sequel to the 1982 sci-fi video-game film. Clearly Disney got the answer they were hoping for, because in 2009 they were back with a teaser reel that Tron devotees went crazy for, and today the director and stars returned again with another eight minutes of footage and a new trailer. “We're going to show you five minutes of Tron for the next twenty years,” said Oswalt. “It's going to cost you $10,000.” The audience first donned their 3-D glasses after a brief video about Tron's pop-culture legacy, which featured clips from 30 Rock, South Park, a Honda Civic, and many more examples that nodded at Tron's unmistakable light-up color lines. Then came the footage, which started with Garrett Hedlund's Sam Flynn, son of the original's Kevin Flynn (Jeff Bridges), getting mistaken for a program and sent into the game, where several ladies in skintight white bodysuits transformed his shirt and jeans into proper Tron gear. The revelatory moment came when original Tron star Bridges arrived onscreen; in the sequel, he looks like his 60-year-old self as Kevin, while his avatar alter ego, Clu 2.0, has been digitally altered to look like Bridges did at 35. In the subsequent Q&A, the actor very Jeff Bridges–ishly described the experience of watching himself in the film as “pretty wild” and “psychedelic.” His Dudespeak seems to have caught on on the set: His co-star, Michael Sheen, said that the 3-D Tron: Legacy is really a “4-D film because Jeff Bridges bring an extra dimension of awesomeness.” (Incidentally, it was revealed that they are considering upgrading the original film to 3-D.) The audience seemed amped at the footage, but just in case they weren’t entirely onboard, they got an extra bribe. Skywalker sound technicians filmed the crowd as the screens prompted them to yell phrases like “Disk! Wars!” and “Dee! Rez!” and stomp their feet. They were promised that if they did a good enough job, the footage would be Tron-ized and then inserted into a game-arena scene in the new film. But for now, they'll have to keep themselves happy playing the new trailer over and over again, which debuted at the end of the panel, and you can see here. Tags:comic-con 2010jeff bridgesmoviestron legacy On General Hospital, James Franco Goes to the Museum Susan Boyle vs. Taylor Swift: It’s On Again!

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Anne Hathaway And Amanda Seyfried Get Into Oscar Mode Posted on Thu Feb 21st, 2013 10:45am PDT By X17 Staff Getty Images for Vanity Fair Anne Hathaway, Amanda Seyfried and the rest of the cast of Les Miserables attended the Vanity Fair and Chrysler-sponsored pre-Oscar celebration of the flick last night at Eveleigh restaurant in West Hollywood, and the event supported the Los Angeles Fund for Public Education. We can't wait to see what these two wear to the Academy Awards on Sunday! Vanity Fair also celebrated the Oscar-nominated Silver Linings Playbook with a separate bash sponsored by Barneys New York and The Weinstein Company, which supported the Glenholme School. Co-stars Jennifer Lawrence and Bradley Cooper struck a pose at the party, and while their romance was just onscreen, apparently he has no shortage of ladies chasing after him. After the BAFTA Awards in London earlier this month, Life & Style reports that he spent the evening charming no less than four ladies! “He spent a long time flirting with [MTV host] Laura Whitmore,” a source tells the mag. “He asked for her number, which of course she gave him.” Click the gallery below for more photos! Can't wait for the Oscars! SEE THE GALLERY Stars Come Out For Vanity Fair's Pre-Oscar Parties

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Good Omens Amateur Stage Production by Cult Classic Theatre Good Omens, copyright 1990, Terry Pratchett and Neil Gaiman, adapted with permission for the stage by Amy Hoff. pledged of £1,000 goal This project's funding goal was not reached on November 29, 2012. Cult Classic Theatre Project by Cult Classic Theatre Cult Classic Theatre in Glasgow, Scotland, is honoured to be the first to have the permission to adapt Good Omens for the stage. With your help, and the assistance of Cottiers Theatre, we hope to make this production our most spectacular yet. The play is scheduled to open in March 2013 and our dedicated cast and crew will be working hard to produce a performance to remember.This will be a non-exclusive, non-profit amateur production.Tickets can be booked at the Cottiers Theatre website:www.cottiers.com/theatre-program/good-omens/ This will be a very large undertaking. Challenges include cast dropouts, illness, and the inability to source products in time. Of course, the final challenge is attracting an audience. A great deal of our Kickstarter money will be going to advertising. We have also worked around cast dropouts in the past and have worked with very few resources to make sure a project gets onstage, and we haven't failed in that yet. Should we attract enough funding, the director will focus entirely on the production of the show, advertising, and research to ensure that it will be a great success. Credit on the website. A program signed by the cast and crew. A thank-you telephone call from the director. Cult Classic Theatre t shirt. A signed photo of the cast and crew. Four tickets to the production. Backstage pass to meet the director, cast, and crew. Credit in the program and on the website. Eight tickets to the production. Free email newsletter. Backstage pass to meet the director, cast and crew. Face painted by our makeup artist. Backer's dinner with the director.

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MTV Movie Awards 2011: Live Coverage of Red Carpet, Winners and Gossip By Ethan Norof Jemal Countess/Getty Images 20.8K Ladies and gentleman seeking all things MTV Movie Awards, please look no further. With the highly-anticipated award ceremony set to take place this Sunday, June 5 beginning at 9:00 PM EST, we have just two full days left until we all get everything that we could possibly want. But this in-flight entertainment will not be navigated with just one pilot at the helm. I will be working with esteemed Pop Culture Featured Columnist Timothy Rapp, who has been described by his close friends as a cigar aficionado, the actual most interesting man in the world, and Fonzie's mentor. Clearly, we make up quite the dynamic duo. The two of us will be on top of live coverage from the red carpet (so you know what all of your favorite stars are wearing), award winners (get ready for a lot of surprises) and all of the gossip that goes on all night long. It's pretty excellent that MTV has decided to give Jason Sudeikis the nod as the host of the show considering his incredible work as a Saturday Night Live veteran, and he should do quite well on the big stage. We can't all be writers, ya know? Someone has to do the dirty work. While we certainly can't make any promises about how the awards will play out, we fully ensure that you won't find better coverage anywhere else on the web. Plus, you can check for constant updates without bothering to refresh, because we'll automatically update it for you. So sit back, relax and enjoy the show. And by show, I'm obviously talking about what is going to be said right here. But feel free to enjoy the MTV Movie Awards as well.

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Did You Know Hi Hater: White ‘Mandela’ Screenwriter Blames ’12 Years A Slave’ For Sucking “Up All The Guilt About Black People” Posted at 12:21 PM on June 3, 2014 - By Is this guy serious? White Mandela Writer Blames 12 Years A Slave For Stealing Acclaim Steve McQueen’s film “12 Years a Slave” not only received incredible praise from moviegoers and film gurus, it also snagged an Academy Award for Best Picture. But not everyone was happy about the film’s success. Via HuffPo reports: William Nicholson, screenwriter for “Mandela: Long Walk To Freedom,” spoke out against the movie complaining that McQueen’s film stole his thunder. Talk about being a sore loser. Nicholson discussed the flick this weekend at the Hay Festival in Wales attempting to explain why the movie chronicling the story of Solomon Northup is the reason his biopic “didn’t get the kind of acclaim that I wanted.” “I’m incredibly proud of this film. Unfortunately it didn’t get the kind of acclaim that I wanted,” he told the Daily Telegraph. “It didn’t get Oscars. ’12 Years a Slave’ came out in America and that sucked up all the guilt about black people that was available.” Nicholson continued to stick his foot in his mouth, ultimately ignoring the fact that although the black American struggle with slavery and the South African fight against apartheid are similar, they are two completely different things — although apparently in his opinion, people are incapable of having too much sympathy for both at the same time. “They [the audience] were so exhausted feeling guilty about slavery that I don’t think there was much left over to be nice about our film. So our film didn’t do as well as we’d hoped, which was a bit heart-breaking,” he said. “I really thought it was going to win lots of awards, partly because it’s a good story but also because I thought I’d done a really good job and the director had done a really good job. So it has been very tough for me. Some things work and some things don’t. You just have to soldier on.” He also said he felt Mandela’s death had a negative affect on the film’s success. “Mandela died as I was in the royal premiere with Will and Kate. Suddenly the word came through that he died. We were deluged with Mandela stuff and after a week we all thought, please, take it away, we’ve heard enough about Mandela,” he said. And let’s not forget the fact that he thought the anti-apartheid icon was boring. “All but one of the speeches were made up by me because his own speeches are so boring. I know it sounds outrageous to say a thing like that, but when he came out of prison he made a speech and, God, you fell asleep,” he said. Nicholson’s film was one among a jam-packed class of award contenders including “Gravity,” “Dallas Buyers Club,” “Wolf of Wall Street,” “American Hustle,” and “August: Osage County,” not to mention a slew of talented actors and actresses including Leonardo DiCaprio, Chiwetel Ejiofor, Jared Leto, Julia Roberts and Meryl Streep. Although it broke box office records in South Africa, the film only raked in $100,306 during its debut weekend in the U.S. Maybe, just maybe, his film didn’t get any awards because it sucked. And maybe, just maybe, it sucked because he was absolutely the worst person in the world to write the film. This azzhole is mad because he thinks ’12 Years A Slave’ took all HIS awards… GTFOH!!!!!! SMS

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I would consider Brian DePalma one of the great [contemporary] directors, just based on his proficiency and prolificacy, even though I'm not much of a fan. I think his directatorial style tends to be a little excessive and over-blown, while his particularly obnoxious manner of referencing film history smacks of pretension. (Remember the falling baby carriage in The Untouchables?) Don’t get me wrong here, he’s a competent and intelligent filmmaker -- he knows what he's doing but he never delivers. Mr. DePalma almost got me this time – for a minute (or more accurately an hour) it really felt like this was going to be the one. Instead, like The Aviator, it’s an example of that special variety of bad movie that can only be made by a great director. At first DePalma seems to be getting everything right in terms of mood and character -- it’s the mystery that he can’t handle. “The Black Dahlia”, the name given by the media to a young aspiring actress brutally murdered in Hollywood during the 1930’s, does not even show up in the film until the third reel, and even then doesn’t come to dominate the narrative for nearly two reels more. Until then, DePalma provides the audience with a cool and gorgeously stylized take on ‘30s Los Angeles and its police force; he also develops an intriguing and complicated love triangle involving Sgt. Blanchard, a detective (Aaron Eckhardt); his wife (Scarlett Johansson); and his partner, Officer Bleichert (Josh Hartnett). As the case of the Dahlia’s murder takes center stage, Johansson practically disappears from the film while Eckhardt and Hartnett rarely appear on-screen together again. The best part of the film, the bourgeoning romance, suddenly goes frustratingly unrealized and forgotten. Instead, we follow a muddied, convoluted yarn to its confusing and unsatisfying conclusion. Hilary Swank shows up for a turn as the femme fatale; it's a competent performance, particularly notable considering the flimsy material. Fiona Shaw, as her mother, provides some perhaps unintentional comic relief with scenery-chewing histrionics, but by the end of the film her performance is simply irritating and distracting. The film peaks too early and as a result feels too long. Too bad DePalma didn’t do what Hollywood did seventy years ago: forget about the Black Dahlia and just tell good love stories. Contemporary Films (2000s) Recent Posts/Permalinks Conversation(s) with Other Women Welcome to Sarajevo Beowulf & Grendel Brazil: The Director's Cut Kill Bill Vol. 1 L'Enfant The Sweet Smell of Success Russian Dolls Mutual Appreciation Little Children Jackass Number Two Iraq in Fragments Flannel Pajamas Posts by Time Period New York Film Festival 2010 Tribeca Film Festival 2011 Cinepinion Logo Logo by Silent Salesman

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‘Noah’ has a hard time staying afloat By Tom Tangney, KIRO Radio Host, Film & Media Critic | “Noah” is an ambitious but unwieldy Biblical epic that is a mishmash of special effects and psychodrama, of hard-scrabble realism and worlds of fantasy, of mundane family conflicts and difficult theological concepts. Sometimes, it’s visually stunning and other times it’s woefully under-imagined. Even the strong acting is counterbalanced with a fair share of wooden dialogue. All in all, “Noah” is a decidedly mixed blessing. Russell Crowe makes for an impressive Noah, the demanding patriarch of a family of three boys. When he has a nightmare about drowning amidst dozens of corpses, he puzzles out its meaning with the help of his grandfather, Methuselah, who seems to have magical powers. Noah eventually realizes his mission from God – to build an ark and save the animals, two by two. Once the flood hits in earnest, the Bible doesn’t provide a lot of information about the goings-on aboard the ark. The opportunities for action scenes are pretty limited, and that poses a serious problem for an action-oriented epic. Curiously, director Darren Aronofsky decides to fill in the “action” gaps by giving Noah a dramatic crisis of conscience. As if cribbing from Christian philosopher Soren Kierkegaard’s analysis of Abraham’s dilemma with God’s order to sacrifice his son Isaac, the screenplay gives Noah a similar dilemma: whether to follow God’s commands or to do what seems morally right. For a mainstream movie, it’s a daring take on the extremes to which faith can push us. Unfortunately, the film’s resolution of that dilemma is surprisingly weak and makes you wonder why it was brought up at all, if it was only going to to be resolved so simplistically. But if the film doesn’t work dramatically or philosophically/theologically, it doesn’t mean it’s all for naught. The ark is truly impressive in its scale and brute design. Hewing closely to the description in the Bible, this ark is no fancy ship but rather a crude, massive long box made of nothing but logs and tar. After all, the ark was not meant to be steered anywhere. Its function was merely to survive the non-stop buffeting of the pounding waves and rain. The film does a very convincing job of presenting just how such a back-to-basics vessel could survive for 40 days and 40 nights. If nothing else, it’s a great corrective to all those other Biblical movies with their prettified arks. And the march of thousands of computer-generated animals into the ark is definitely epic-worthy – first the swooping birds, then the lumbering four-legged creatures, and finally the slithering reptiles and insects. Even then, with the greatest of arks and the best CGI animals imaginable, the movie seems to miss out on some major opportunities to wow and marvel us. Once the animals board the magnificent ark, they’re rarely seen again and the ark itself is hardly explored at all. Despite the mandatory rainbow at movie’s end, the overall tone remains dark and brooding. Tom Tangney on KIRO Radio Join Tom Tangney and the rest of the radio crew every day on KIRO Radio. More'Suicide Squad' review: Script doesn't live up to cast's potential'Jason Bourne' feels like a letdown for such a big-budget action filmThe new 'Ghostbusters' is just another big-budget comedy with a dozen laughsViggo Mortensen's 'Captain Fantastic' takes you off the gridMovie Review: For a family movie, 'Hunt for the Wilderpeople' is refreshing and quirky About the Author Tom Tangney is the co-host of The Tom and Curley Show on KIRO Radio and resident enthusiast of...everything. As the film and media critic on the Morning News on KIRO Radio, he espouses his love for books, movies, TV, art, pop culture, politics, sports, and Husky football.

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'Charlie's Angels' Canceled By ABC October 14, 2011 7:08AM Looks like the three new babes of ABC’s Charlie’s Angels reboot weren’t able to captivate American viewers, despite their good looks. ABC announced today that it is shutting down the production of the new show. The network announced that it will continue to air Charlie’s Angels Thursdays at 8 p.m., but did not announce how many more episodes, Entertainment Weekly reports. OK! GALLERY: MINKA KELLY IS A CAREFREE ‘ANGEL’ ON THE OPEN WATER Four of the eight filmed episodes have aired and last night’s show was above average with 6 million viewers; however, the number was still too low to change the network’s decision to cut the program. Actresses Minka Kelly, Rachael Taylor and Annie Ilonzeh starred as the infamous trio. ABC has decided to keep some new programs going. Yesterday, the network announced six more scripts of Happy Endings have been ordered and both Revenge and Suburgatory have been picked up for full seasons! OK! GALLERY: ROBERT WAGNER BACKS OUT OF CHARLIE’S ANGELS; MINKA KELLY STARTS SHOOTING (LITERALLY) Maybe some classics are best left alone (and left for re-runs). Are you sad to see Charlie’s Angels go?

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Arroyo Seco R.R. Bridge Pete Babij View from beneath a R.R. bridge crossing the Arroyo Seco River, with its confluence with the LA River a few feet away on the right. On the left you can see down the Arroyo Seco's river channel. Copyright: Pete Babij Tags: river; water; bridge; concrete; urban; train; confluence More About Los Angeles The World : North America : USA : California : Los Angeles Overview and History Alllllrightie now, here's your soundtrack. Please click on "Hollywood" before you make another move. "LA Woman" is next up on your playlist.Quick math lesson:"If you've got it, flaunt it. If you don't got it, invent it and then flaunt it."Los Angeles is the second biggest city in the USA, it's in Southern California where you can go surfing or snowboarding whenever you want, and it means "City of Angels."LA was first named in 1781 by a Spanish governor who called it "El Pueblo de Nuestra Senora la Reina de los Angeles de la Porciuncula", which means you need to go back to Spanish class.I mean, "The Village of our Lady the Queen of the Angels of Porziuncula." (The Porzincula part refers to a chapel in Italy dating back to the fourth century AD, not a native American tribe or anything local.)Mexico inherited Los Angeles when it won its independence from Spanish rule in 1821. Twenty-five years later LA became part of the United States territory in the treaty that ended the Mexican-American War. California became a state of the US soon after, and LA started getting excited for the arrival of Jim Morrison and the Doors.Railroads laid track to LA in 1876, which was very convenient for transporting the oil supply which was discovered in 1892 and Pow! The economy took off. With that, the population exploded, everybody ran out of water, you know, the usual story.Now that I think about it, LA has documented this story in a TV series called "The Beverly Hillbilles." Just watch the opening credits and you'll get the whole concept. This was one of the longest-running and most popular TV shows ever made in the States, which is why most Americans will think "swimming pools... movie stars..." when you say "Callyfurnia."And LA is where the TV and movies come from, specifically Hollywood, or Tinseltown, in the Hollywood Hills. This is where it all comes from, dancing pictures across the silver screen! If you've watched American TV, you've seen it. Here's the Bat Cave from "Batman".The first movie made in Hollywood dates to 1910, ("In Old California") and the first western TV station began broadcasting there in 1947.Oh, by the way, LA sits on the San Andreas geologic fault line. Fault lines are prone to earthquakes, and everybody expects LA to fall into the ocean someday.Getting There As soon as the wheels touch the ground, the cellphones flip open and you start overhearing people loudly telling everyone what their next appointment is. That's how you know you're in LA. The phone doesn't even have to be on.LAX is the main airport where it all goes down. Shuttle buses connect the airport to the city's Metro Green Line.TransportationLA is a driving city; you need a car so you have a place to sit while you are waiting in traffic. Worst traffic jams and road rage on earth.Contrary to popular belief, they actually do have a public transportation system with buses and a metro and everything in LA. Fares cost $1.25 for a single ride, $5.00 for a day pass, if you're interested. See, the thing is you need a window you can roll down to flip people the bird.Visit the LA Union Station just to see one of the last great railway stations, as it's known.People and Culture Rock and roll! Do you know what that means? That means you can do whatever the hell you want, really loud, and it should probably bounce up and down at some point... sort of like the Baroque Period, but instead of gold you can use neon and breast implants too. They both bounce a lot better than gold, anyway.Charles Mingus, The Doors, The Mothers of Invention, Guns N' Roses, Public Enemy, N.W.A, Snoop DoggThese people did not get there by asking anyone else for permission, see what I'm saying? Dr. Dre's classic album "The Chronic" will instruct you in everything else you need to know about L.A.Famous L.A. writers who did the same thing but on paper: Charles Bukowski, Raymond Chandler, John Fante.Q:How do you say, "F--- You" in LA?A: "Call me."Things to do & RecommendationsDisneyland is a massively popular vacation destination, especially for people with children. Walt Disney was the pioneer of animation who created Mickey Mouse, Bambi, Cinderalla and some interesting WWII training films.Architecture: Disney's Concert Hall designed by Frank Gehry. For more architecture, look up the architect Frank Lloyd Wright and visit some of the residences he built.For some of the artistic flavor of LA, you can do lunch at Casbah Cafe on Sunset Boulevard, and catch some live jazz at Spazio.Absorb the genius of Diego Rivera in the LA County Museum of Art, and then ask yourself how you will do something to keep up with him and Batman. Thank you L.A.! Text by Steve Smith.

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An Open Brooks Jenelle Riley | Posted May 6, 2003, midnight At the start of the musical The Producers, the audience meets Max Bialystock, a once great hit maker who is now only a legend in his own mind. Dubbing himself "the king of Broadway," Bialystock fondly remembers a time when "everything I touched would turn to gold." Now reduced to wearing a rented tux that's two weeks overdue and eviscerated by critics, Bialystock vows he will reach the top again. Is there any doubt that author, composer, lyricist, and producer Mel Brooks was venting some of his own frustrations when he penned this number? Not a chance. "As the song says," Brooks said, smiling with satisfaction, "I am the king of Broadway." All is forgiven if you happen to be one of the countless critics who long ago dismissed Brooks as irrelevant or past his prime. After creating his own genre of spoof comedies in the 1970s with classics that include Blazing Saddles and Young Frankenstein, Brooks seemed blessed with the Midas touch. He was bold enough to parody Hitchcock (High Anxiety) and paid tribute to the pre-talkie era with Silent Movie, which featured only one word of spoken dialogue—by a mime, no less. But Brooks' career seemed to falter in recent years. His last blockbuster success was 1987's Spaceballs, and the 1990s brought lukewarm offerings Life Stinks and Robin Hood: Men in Tights. Brooks hasn't stepped behind the camera to direct a film since the ill-received Dracula: Dead and Loving It in 1995. So, like Bialystock, Brooks opted to reinvent himself. At the age of 76, he's enjoying a second career as the mastermind behind The Producers, the stage adaptation of his 1968 movie, which opens its L.A. run at the Pantages on May 29. After winning a record 12 Tony Awards and breaking box office records, it seems a given that The Producers was destined to be a hit. But when Brooks was first approached by producer David Geffen about adapting his Academy Award-winning script to the stage, he said no. Although the film had won Brooks an Oscar for Best Screenplay, it was not at first the beloved film it has since become thanks to video and TV airings. "When The Producers was released as a movie, it was not a success," Brooks recalled. "The New York Times trashed it. It took 25 years for it to become a cult hit. Finally, I would get mail on my desk from people praising it. And I said to Geffen, 'It's finally good, let it alone! It's becoming accepted. You're going to kill it again. If you make it a musical, you'll let the critics in'!" How does he feels about turning down Geffen? "Chagrined," said Brooks, in what is probably as close to sheepish as he can sound. "He was right." By the time Brooks decided to bring The Producers to the stage, Geffen had moved on to concentrate on his company, Dreamworks. But Brooks still managed to attract several high-profile producers, including Miramax Films' Bob and Harvey Weinstein. He also had the good fortune to land esteemed director/choreographer Susan Stroman, whose years of experience on hits such as Show Boat and the recent revival of The Music Man helped shape The Producers into what it is today. "I'm in love with Susan Stroman, I'm crazy about her," said Brooks. "I begged her to throw out one of the numbers that wasn't working, and she said, 'No, I can rescue it.' And she did. She has amazing ideas. She has little old ladies dance with walkers and beautiful girls come out of filing cabinets." Echoed Jason Alexander, who plays Bialystock in the Los Angeles production, "The more time you spend with these guys, you hear more and more about the history of the show. Mel can kind of go on, and something's got to give form to that, and [Stroman] really rode roughshod over those guys. She threw out numbers, she demanded different numbers, she demanded eight more bars for a set change, and Mel had to go off and come up with another melody. She's really spectacular. And so specific and so clean about where the focus is and how it works." The collaboration clearly paid off: Stroman won two of those 12 Tonys in 2001 (for directing and choreography), and Brooks won three (as producer, writer, and composer). In person, Brooks is a ball of energy packed into a 5-foot-4 frame. Above all, he remains an entertainer. "Ask me anything!" he dared, and meant it. He never stopped talking, pontificating in that famous rasp on everything from reality television to his love of the Marx Brothers. And he's still with the one-liners. He referred to Anne Bancroft, his spouse of almost 40 years, as "my best wife." When asked about landing Alexander and Martin Short as his stars, he dryly said: "I wanted to make sure they loved the idea as much as I did. And they did. So the only question remaining was: Would they do it for scale?" It's virtually impossible not to adore Brooks, which his peers do openly. Short recalled first meeting Brooks in the mid-'80s at the commissary on the Universal Studios lot. After introducing himself, Short wasn't even sure Brooks knew who he was until Short was leaving. "I was at the end of the door and he stood up and screamed: 'Get your price down and we'll work together,' " said Short, laughing. "I did. And we are." Ask Alexander what people might be surprised to know about Brooks, and he's at a loss. "There's not much you don't know. Mel's an open book. He doesn't edit much. That's kind of the glory of Mel." Thomas Meehan, who co-wrote the book for The Producers and was a co-writer on Spaceballs, believes people would be surprised to know the serious side of Mel. "He's a public clown and he's endlessly funny," Meehan noted. "But he has so many interests. He's a great expert on wine, Russian novels, and all kinds of strange things that people don't associate with him. He's very interested in medicine, he reads all the journals and can diagnose illnesses. Carl Reiner had a stomach attack five years ago, and he didn't call a doctor, he called Mel. And Mel got Carl to the hospital. He may have saved his life." Brooks is also a hopeless romantic. He purchased the rights to the book 84 Charing Cross Road as an anniversary present to Bancroft, and his company Brooksfilm produced the movie. Ask Brooks what it might surprise people to know about him and he'll point out that his company produced such varied fare as The Elephant Man, Frances, and The Fly. "I'm very proud of those hidden talents," he stated, adding that he purposely doesn't publicize his involvement with dramatic films. "I don't want to confuse the public." Brooks is riding high on his stage success and is considering musical versions of Blazing Saddles and Life Stinks, but he will most likely adapt Young Frankenstein next. "It's a natural for the stage," he noted with visible excitement. While most directors with his resumé would be loath to pick a favorite among their films, Brooks admitted to having a special place in his heart for the original Producers. "Only because it's the first accomplishment on film," Brooks said. "I never thought I could write it and anybody would make it. It's like your first-born child InterviewFinding the Hidden Face of Your Character InterviewHow an Off-B’way Star Got Cast Thanks to Birth Control

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[Spoilers! The following contains information about the first three seasons of Downton Abbey. Read at your own risk.] Downton Abbey's Lady Mary may be in mourning, but will we get to see her eventually find happiness this season?"Not yet. I ... [Spoilers! The following contains information about the first three seasons of Downton Abbey. Read at your own risk.] Downton Abbey's Lady Mary may be in mourning, but will we get to see her eventually find happiness this season?"Not yet. I don't know if she'll ever be happy for a long time," Michelle Dockery, who plays the widowed Mary, tells TVGuide.com. "Matthew made her happy and changed her from quite a spoiled brat into quite a nice person. At the end of [Season] 3, she had it all: She finally found the man of her dreams, she was married, she gave birth to a baby boy. It's all wrapped up very neatly. All of that has been shattered now." Downton Abbey downstairs scoop: Anna dances, and Daisy does the devil's work!When Downton Abbey returns for its fourth season, approximately six months will have passed since heir Matthew Crawley (Dan Stevens) perished in an auto accident immediately after visiting his wife and newborn son George in the hospital. And although we feel for Lady Mary, her suffering paid off with another Emmy nomination for Dockery. "I had one last year, and that was amazing. I wasn't really expecting it to happen again," Dockery says. "I feel I'm part of this time that writers are writing really well for women." Check out the rest of our interview with Dockery to find out what else is in store for Mary in Season 4:What kind of mother is Mary? Michelle Dockery: She's very conscious that she wants to be a good mother. She finds it difficult to relate, to bond with the baby at the beginning because of the grief. Every time she looks at him, she thinks of Matthew. But she's also not the most maternal of mothers, as you can imagine. It's just not in her nature. And also, at that time and the world that she's in, women in the aristocracy didn't really spend that much time with their children. Mary, Edith and Sybil would have spent most of their childhood with the nanny or the governess. They'd see mother after tea, once before dinner or something. Because you and your brother-in-law Tom Branson (Allen Leech) are both widowed and single parents, will you share many scenes this season?Dockery: Yes, me and Allen have shared lots of scenes together this year because he is obviously the estate manager, so Mary has a lot to do with Tom Branson because she is also part of that process, taking charge and saving Downton. Because Matthew's death has put a real spanner in the works for the heir, who is too young to be the heir, even though he is. There's a great story line around that. Downton Abbey Season 4 scoop: Lady Edith, London and more!Is Mary more tolerant of Branson now? Not only do they have to work together, but they share the same grief. Dockery: Yeah they certainly do. They share the same loss, and also Branson lost a friend. He was friends with Matthew. So there is certainly a bond between them, but there's always that divide between them still, as much as he's been included into the family. He was the chauffeur, so there is still a little distance between them. And he still feels at times uncomfortable being abovestairs and not belowstairs. It's a big adjustment for Branson. Thank goodness a Branson-Mary romance won't happen, but there are other possible romances for Mary this season. Are you prepared for fans, loyal to Matthew, to be outraged by these new prospects? Dockery: Yeah, of course! I think what's important is that Mary does not move on too quickly. Time moved quite quickly when it came to marriage back then because it's important, and particularly for Mary it's important that she finds a husband that's eligible and can father Baby George. And to replace Matthew, that's difficult. Does she have to approach the subject of marriage as business now?Dockery: Yes in some ways, but I think she still belives in romance. Matthew kind of teaches Mary that. She was in love with him, as much as it was a tricky start with them. She would want it to be both. But I don't know where it's going. Maybe she'll end up alone, maybe she'll never be able to replace him. Did you catch the spoof Downton Diddy?Dockery: I did! I loved it. He's so funny. I was so impressed. The production values of it were amazing! And I just thought it was so funny. I love the bit with Thomas, the footman when he puts his hand on his face, and whacks his hand out of the way. And a lot of it was [Season] 1 that they took off, which I hadn't seen in ages. Things like that are just a reminder of what a success this show has become. It's become this other thing. Spoofs are being made. It's wonderful really because it's flattering. It shows how much people love it. 13 reasons to be Downton's Dowager Countess when you grow upOf course, the whole reason why Downton Diddy was made was because of the announcement that Downton Abbey added its first black character. Gary Carr plays a jazz musician named Jack Ross. How much is jazz involved in the story this season? Dockery: The fourth [season] spans between 1922 and 1923, and there is an energy to the fourth [season] besides the mourning of Matthew. It feels like the Bright Young Things are out. The fashions have changed, and Edith and Rose are very much embracing this new era. What comes with that is music and dancing. The jazz era has just begun. [Jack] is this new character who comes in who performs in a nightclub that some of the characters go to. You personally sing jazz, but how does Mary feel about jazz?Dockery: I don't know. I've never really thought of that. ... Now she's a little bit older, she's not really into the partying scene. She adapts to change really well. She's not one to harbor on the past like Robert, but maybe she doesn't embrace it as much as someone like Rose or Edith. She's not about to get her hair -- Dockery: -- her hair bobbed or anything? No. What are the differences in costume for the era that we'll see on Mary?Dockery: The hems are higher, the waists have dropped, everything's loose, no corsets. It's just slightly less demure. There's more flesh on show. It's not a bad thing to have more of your back showing, your shoulders. The jewelry is a little bit more extravagant. The tiara is back. There are a lot more diamonds because during the war -- there was a brilliant quote that I saw at the imperial war museum of something like, "Dressing extravagantly is an insult to your troops" or something -- so for a while, the fashions were a lot duller during the war because people were in constant mourning. The '20s kind of gave everyone [the opportunity] to sort of go a little madder. It's full of diamonds and pearls. Are Rose and Edith (Lily James, Laura Carmichael) actually going out together socially? Dockery: No, not really. Everyone sort of has their own little story lines going on. Edith spends quite a bit of time in London. That's very new, that she sort of has this independence. POLL: Will you watch Downton Abbey Season 4?What is Mary's relationship like with her sister Edith this season? Dockery: There's a little tension still between them. They've never really forgiven one another for the bad things that they did to each other in the first [season]. I think it's that thing that they love each other, but they're not friends. Mary can still be quite nasty towards Edith, and through the mourning, she can be quite cutting with some of her remarks. I think people understand that it's through the grief, really, in those early episodes. For me and Laura, it's fun. If Julian [Fellowes] suddenly wrote that they hug it out and make up, it wouldn't be as fun to play. As much as I think that if they had put their differences aside and on the table, they'd be really good mates because in some ways, they're similar I think. Speaking of family, Paul Giamatti makes a guest appearance in the Christmas episode as Uncle Harold, Lady Cora's (Elizabeth McGovern) brother. What energy does his character bring to the show? Dockery: He and Martha (Shirley MacLaine) kind of rock up. It was just coming to the end of the shoot, so it was a lovely energy boost for everyone, especially Shirley coming in. He plays our uncle who has got himself into a bit of trouble financially. He plays this slightly caddish [character]. We've talked about Harold in the past a lot, so it's nice to finally see him. He was so great to work with. And always seeing Shirley in the same room as Maggie [Smith] -- I pinch myself. Downton Abbey Season 4 premieres in the UK on ITV in September, while U.S. audiences must wait for the Jan. 5 premiere on PBS' Masterpiece. View original Downton Abbey's Michelle Dockery: Lady Mary Won't Be Happy for a Long Time at TVGuide.com 13 reasons to be Downton's Dowager Countess when you grow upDownton Abbey Season 4 scoop: Lady Edith, London and more!Downton Abbey downstairs scoop: Anna dances, and Daisy does the devil's work!POLL: Will you watch Downton Abbey Season 4? Allen LeechElizabeth McGovernJulian FellowesMaggie SmithPaul GiamattiShirley MacLaineMasterpieceDan StevensMichelle DockeryLily JamesLaura CarmichaelGary Carr

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SPOILER ALERT! John does NOT die at the end. He dies at about the halfway point. Or maybe it�s a third of the way in. Hold on, he might not be dead at all. Wow, if that doesn�t pique your interest, this movie�s not for you. Because even though everything about it might make total sense to screenwriter-director Don Coscarelli, many of his �explanations� about what the hell is going on in this weirdo horror-fantasy aren�t going to translate to general audiences. Then again, Coscarelli probably doesn�t care about anything labeled �general.� Since writing and directing the unabashedly odd �Phantasm� series of films, he went on to do the same, about a decade ago, with the absolutely one-of-a-kind �Bubba Ho-Tep,� an alternate universe story in which Elvis Presley (Bruce Campbell) and John F. Kennedy (Ossie Davis), spending their golden years relaxing in a nursing home, go to battle with an ancient Egyptian mummy who is preying on the souls of their fellow retirees. It�s safe to say that �John Dies at the End� is even stranger. This is a movie about people whose bodies (and souls) are being preyed on by drugs. The drug of choice here is nicknamed soy sauce, or just the sauce. John (Rob Mayes) is on the sauce, which means that his mind is way beyond the place where hallucinations exist. Or maybe he�s dead. But how can he be dead if he makes a 3 a.m. phone call to his pal Dave (Chase Williamson), asking for help with a young woman who�s afraid of her boyfriend who�s been dead for two months? To sweeten all of this, there�s the on-and-off presence of the Tony Robbins-like Dr. Marconi (character actor Clancy Brown), who has some �special powers,� and newspaper writer Arnie Blondestone (Paul Giamatti), who�s trying to put together a story about the goings-on around him. To make everything even more off the wall, we�ve got a man made out of meat parts, along with a large and very scary spider that keeps appearing at unguarded moments. We�re made to believe that steady, even-keeled, fairly unemotional Dave is going to be at the center of the story. And he is, until he accidentally injects himself with some sauce while he�s on the phone with a priest. From then on, the story is (might be) about everyone and everything � a visitor from another world, a cop, that big spider � around him. There�s no doubt that Coscarelli is a fan of films including �Naked Lunch,� �Donnie Darko,� and �Evil Dead 2,� as nods to each of them keep popping up. And he�s into the specialized genre of non-linear filmmaking. To say that this one jumps around in time and space is a perverse understatement. It�s also made clear that Coscarelli and his film have no intention of backing off from its absurdities. There�s gun violence and some dabbling in dismemberment. But some of that stuff is so over the top, it becomes funny. My best guess is that it�s about alien creatures looking for host bodies. But it would be easy to convince me that it�s just as much about dogs learning how to drive Ford Broncos. Ed Symkus covers movies for GateHouse Media. JOHN DIES AT THE ENDWritten and directed by Don CoscarelliWith Chase Williamson, Rob Mayes, Paul Giamatti, Clancy BrownRated R

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Watch Christian Bale Audition For Batman Begins In Val Kilmer's Batsuit By Eric Eisenberg Over the years we've seen many different actors put on the Batsuit and become Batman for a live-action feature, from Adam West to Michael Keaton to George Clooney, but few have done the classic comic book superhero justice quite like Christian Bale. Not only was his performance in Christopher Nolan's Dark Knight trilogy considered by many to be the best on-screen portrayal of the character, many fans hoped that his version of the character would carry over to the upcoming Man of Steel sequel/Batman vs. Superman film. And now, thanks to the above video courtesy of Batman-News.com, we have our first look at what could possibly be Bale's first time wearing the Batsuit... and it happened to be the one that Val Kilmer wore when he played the superhero in Batman Forever. As the source notes, this clip comes from the documentary "The Fire Rises: The Creation and Impact of The Dark Knight Trilogy," which is one of the speicial features that comes with the brand new Dark Knight Trilogy: Ultimate Collector’s Edition Blu-ray box set that will be hitting shelves tomorrow. While the full doc is actually 76-minutes long, this tiny one-and-a-half minute clip alone is packed with tons of information, from the fact that Amy Adams stood in as Rachel Dawes during the Batman Begins auditioning process (she would later go on to play Lois Lane in Zack Snyder's Man of Steel) to the reveal that it was Bale's voice as Batman that helped him win the part. To compare with the screen test above, you can watch the actual scene from the final movie below: The documentary isn't the only special extra that Warner Bros. has packed into the new Batman box set. Also included are Hot Wheels versions of Batmobile, Batpod and Bat, five mini posters designed by Austin-based poster company Mondo, a 48-page hardcover book full of production stills and artwork, and a six-disc booklet that also includes art from every movie in the series. The set is a limited edition, so if you don't purchase soon you may miss your chance entirely. Now as a special treat enjoy the awesome supercut of all three movies below, which won't be included in the Blu-ray set but is still very awesome. The Problem With Recent Superhero Movies, According To A Former Batman Star The Crazy, Expensive Sequence Christopher Nolan May Be Creating For Dunkirk This Batman Begins Star Is Reuniting With Christopher Nolan For A WWII Thriller The Big Difference Between Christian Bale And Ben Affleck's Batmen, According To Charles Roven

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More than just a work of visual artistic expression, though, Mood Indigo is primarily about the sacrifices required to make love work in the real world. Michel Gondry is a filmmaker with nothing to prove in the field of abstract romance. In 2004, he collaborated with Charlie Kaufman to make Eternal Sunshine of the Spotless Mind - one of the most honest, emotional and inventive romances ever put to film. This set a high bar for the director’s return to the genre with his latest movie, Mood Indigo, but once again he has proven to possess a truly genuine understanding of the joy and pain that comes with love, as well as the personal sacrifice that comes with being part of a larger whole. Based on the novel by Boris Vian and filtered through the vision of a genuine auteur writer/director, Mood Indigo is set in a fantastical world – practically a live-action cartoon – where we meet Colin (Romain Duris), an affluent young man living in Paris with his lawyer/mentor/cook Nicolas (Omar Sy). While Colin is happy and doesn’t have to earn a living due to his wealth, he is desperate to find someone to share his life – motivated by the fact that his best friend, Chick (Gad Elmaleh), has fallen for Nicolas’ niece, Alise (Aissa Maiga). Colin’s search comes to a quick end when he meets Chloe (Audrey Tautou) at a party, and the two fall madly in love. Unfortunately, even this bright and cartoony world isn’t free from the darker side of life, and Colin and Chloe suddenly find themselves facing tremendous hardship and having their love challenged. While the plot of Mood Indigo is quite a good deal simpler than Eternal Sunshine of the Spotless Mind - stripping away the more science-fiction elements for a more straight forward love story – it’s Gondry’s unique vision that makes it pop like no other filmmaker could. The world in the movie is far more fantastical than our own, and the big, bold and beautiful first half of the film will widen your eyes and gape your jaw. Gondry uses a spectacular mix live-action and stop-motion to bring Vian’s book to life with all sorts of bizarre elements and inventions, from the doorbell/egg timer that crawls around the house and can only be turned off with a good smashing; to the chef in the television who offers Nicolas cooking advice and can even reach through the screen to hand him ingredients. These wondrous elements aren’t limited to the set design either, as the characters themselves are able to twist, contort, dance and change in all kinds of impossible ways that perfectly fit the environment they’re living in. With tonal changes in the story come dark alterations in the aesthetic, however, and while there is a sadness in seeing the brighter, more fantastical elements go, there’s compensation that comes with watching a master filmmaker at work and in complete control of the story he is telling. As though the world feeds off of the positive energy put out by Colin and Chloe, as the couple encounters greater and greater adversity, the life and color of the environment begins to dim and fade metaphorically. Wholly depressing as it is, that doesn’t stop it from still being beautiful. More than just a work of visual artistic expression, though, Mood Indigo is primarily about the sacrifices required to make love work in the real world. Happy as Colin is at the beginning of the film, he is willing to give up absolutely everything in the name of his passion for Chloe, and it’s emotion that’s palpable through the screen – and further driven home in the contrasting relationship between Chick and Alise, which is damaged by Chick’s complete obsession with the author Jean-Sol Partre (see if you can’t figure out that scrambled existential reference). Perhaps it comes as an advantage being French, but Michel Gondry is one of only a very small number of modern filmmakers who have the understanding, intelligence and talent to take an abstraction as strange, demented and beautiful as love, and portray it cinematically with real honesty and emotionality. While not on par with Eternal Sunshine of the Spotless Mind, Mood Indigo is an auteur’s work made in the artist’s strongest medium, and the result is a remarkable piece of art. 8 / 10 stars Reviewed By: Eric Eisenberg

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directed by Lynne Collins Date Time Sunday June 1 12:00 am Closed MediaArtistic TeamNotes Lynne Collins Director Director's NotesSynopsisProduction NotesDramaturgFurther Reading Blood Will Have Blood One of Shakespeare's most powerful rhetorical tools is antithesis, setting a position against its opposite to create contrast and conflict-think "To be or not to be." In Macbeth one of the most powerful uses of antithesis is expressed through the metaphor of blood. As the Macbeths stand together, covered in Duncan's blood, Lady Macbeth tells her husband "A little water will wash us of this deed." Later, as their lives begin to unravel, she still believes "what's done is done." But Macbeth always understands that his actions must have consequences. He struggles until the moment he kills Duncan to balance his desire for the crown with his knowledge that to take it will have enormous cost. Urged on by his wife and his own needs, which are given voice by the Witches, he abandons the social bonds that have made him a brave and respected soldier and leader. He becomes a child murderer and tyrant, who is "...in blood/ Stepp'd in so far, that should I wade no more, /Returning were as tedious as go o'er." This timeless metaphor that "blood will have blood" is central to our production. Has any king, general, or president engaged in a war without bumping into it? Once unleashed, violence simply and absolutely begets more violence. We may believe violence is justified; it may be. But it will exact its price. Lincoln understood this at Gettysburg, Brutus knew it as he plunged a knife into Caesar, and today we look to Iraq and Afghanistan and know it, too. Creation and Decay What all this blood is designed to guarantee is some kind of legacy, a permanence that will give meaning to life. In Macbeth, this desire is expressed in the murder of children. The Macbeths are childless, which affects many of their decisions. The essential instinct to reproduce is translated into a need for power. They attempt to create something together, which can endure by grasping a throne that belongs to the son of another. But the Macbeth's creation begins to decay even as they build it. Like Shelley's Ozymandias, who dared the world to "Look on my Works, ye Mighty and despair!" but left only "decay/Of that colossal Wreck, boundless and bare," Macbeth dies knowing "Life's but a walking shadow; a poor player, /That struts and frets his hour upon the stage, /And then is heard no more." The Witches The essence of both of these ideas lives in Macbeth's relationship to the Weird Sisters. In our production, they are the stuff that nightmares are made on, born from this couple's "black and deep desires." They tell Macbeth that he will be king, but he chooses a road to the crown washed in blood. They mock him with his great fear, telling him that Banquo will leave a line of kings, but it is Macbeth alone who responds by murdering innocent children. These Witches can speak but not compel; only humans can turn desire into blood. - Lynne Collins Synopsis ACT I The Weird Sisters, three witches, plot to meet Macbeth, a general in the service of Duncan, King of Scotland. Learning that Macbeth has defeated the treacherous Thane of Cawdor, Duncan decides to award him the title and dispatches a messenger to summon "the worthy thane." As Macbeth and his friend Banquo return home from battle, they are met by the Weird Sisters. They call Macbeth "Thane of Cawdor," predicting that he will become king, and assure Banquo that his sons will be kings. When the messenger catches up with Macbeth and greets him as Thane of Cawdor, Macbeth wonders if the rest of the prophecy will come true. King Duncan welcomes Macbeth and Banquo in his palace, praising them for their valor and thanking them for preserving the kingdom. Duncan then names his son, Malcolm, as successor to the throne. Hearing of the Sisters' prophecy, Lady Macbeth determines that she must help her husband kill Duncan if Macbeth is to become king. King Duncan visits Inverness Castle, the home of the Macbeths. Lady Macbeth receives him warmly, giving no indication of her malicious plans. Macbeth, plagued by his conscience, resolves not to murder the king. His wife accuses him of cowardice, convincing him that they will be successful. ACT II Macbeth has a vision of a bloody dagger just before going upstairs to murder King Duncan. After the murder, Lady Macbeth takes the bloody daggers from her husband and plants them on the King's sleeping guards. In the morning, Duncan is found dead. Fearing for their lives, Duncan's sons flee, leaving Macbeth to take the throne. ACT III Banquo becomes suspicious of Macbeth and abruptly leaves the palace. Afraid of the Sisters' prophecy that Banquo's children will be kings, Macbeth arranges for Banquo and his son to be murdered. Lady Macbeth encourages her husband not to dwell on what they've done, but Macbeth insists he cannot rest until Banquo and his son are dead. The murderers kill Banquo, though his son, Fleance, manages to escape. During a banquet, Macbeth is haunted by a vision of Banquo, who points an accusing finger at him. ACT IV Macbeth returns to the Weird Sisters. They reassure him that he cannot be defeated by any man born of woman nor will he be vanquished until Birnam Wood comes to the royal seat of Dunsinane Castle. Macduff, another thane, goes to England and convinces Malcolm, the rightful king of Scotland, to return and overthrow Macbeth. While he is away, Macbeth has Macduff's family murdered as punishment for his treachery. Macduff and Malcolm prepare an army to attack Dunsinane. When Macduff hears that Macbeth has killed his wife and son, he vows to slay the usurper himself. A doctor is summoned by Lady Macbeth's servants because she is unwell. He observes her sleepwalking, trying to wash invisible blood from her hands. ACT V Macduff and Malcolm are in place to attack Dunsinane Castle, but Macbeth is confident that he cannot be defeated. To disguise their numbers, the advancing soldiers carry tree branches in front of them as they near the castle. Macbeth learns that Lady Macbeth has died. His servants then tell him that it looks as if Birnam Wood is approaching, and Macbeth realizes the truth of the Sisters' prophecy. Cornered at last by Macduff, the desperate king boasts that he cannot be killed by any man born of woman. Macduff reveals that he was cut from his mother's womb and then kills Macbeth. The soldiers hail Malcolm as their new King, and he vows to restore their country. Production Notes For director Lynne Collins, one of the crucial concepts in Macbeth is the idea of releasing a force that you believe you can manage but that ultimately escapes your control. At the end of the first act in this production, Macbeth reflects on how the single murder he intended to commit has led him to kill again. "I am in blood," he says, "Stepp'd in so far, that should I wade no more / Returning were as tedious as go o'er." By killing Duncan to become king, Macbeth has unintentionally initiated a violent chain-reaction that leads him to do things he never had thought possible. Collins believes this idea is relevant to current situations in our increasingly globalized world where the aggressive actions of one nation can have serious, unforeseen consequences for many nations. To realize this concept onstage, Collins has worked with the production design team to create a world where violence is a constant, barely-contained threat. Scenic designer Andrea Bechert has created a set that emphasizes a delicate balance between organized society and primitive violence by combining images of nature and civilization. Blood is also a major image in this production's design, serving as an ever-present visual reminder of the violence that characterizes the play from beginning to end. Pieces of ancient statues, such as the giant stone hand that lies onstage, represent the tenuous hold that civilization has over chaos and the primal as well as the physical (and moral) frailty of lords and kings. The visual landscape for this production evokes a sense of danger, of a world caught in the balance between order and violence, creating an environment where violence and bloodshed are unstoppable once released. CHILDREN IN SHAKESPEARE AND MACBETH Children are crucial to the story of Macbeth: this production emphasizes how they--or their absence--affect the principal characters. Young Macduff, who has a small but significant role in the play, is one of only thirty child characters out of the one thousand characters created by Shakespeare. While some scholars say that Shakespeare used children to manipulate his audience's emotions, others argue that he created more complex child characters than his contemporaries and depicted a surprisingly wide variety of them. Child actors were familiar to the Elizabethan playgoer. Boys played adult female roles because women were not permitted on the stage and, in the early years of the seventeenth century, "boy companies" such as the Children of St. Paul became so popular that they competed with adult companies for audiences. In the 1601 Hamlet, Shakespeare suggests that such competition has driven the first player and his troupe out into the provinces, and he disparages the boy company players as "little eyases" (a term that literally meant "unfledged hawks" but suggested something else). Given audience fascination with young actors, it makes sense that Shakespeare wrote parts for children into his plays. Nor were these parts mere gimmicks or novelties: Shakespeare's children are fully fleshed out characters. Scholars speculate that some of Shakespeare's young male roles were modeled after his own son, Hamnet, who like many of the children in his plays died very young. From the Comedy of Errors to the gory Titus Andronicus, child characters in Shakespeare have a significant effect on the events of their plays and the adult characters that surround them. Child characters such as Mamillius in A Winter's Tale bring out the nurturing traits in their fathers and reveal non-maternal traits in their mothers. Other children, such as the princes in Richard III or Arthur in King John, die at the hands of the play's protagonists, creating a turning-point in these characters' relationships with the audience. Though they serve similar dramatic purposes, children who are killed in Shakespeare's plays elicit audience sympathy for different reasons: the princes in Richard III are intelligent, precocious, and admirably brave while Arthur in King John is unfailingly gentle and compassionate. There are several child characters in Shakespeare similar to Arthur who are keenly aware of and sympathetic towards the suffering of the adults. Though some have attempted to categorize Shakespeare's children under two broad stereotypes -precocious and brave versus vulnerable and innocent. A closer look reveals that each is an individual with unique traits, purpose and meaning to the play, regardless of how much stage time the playwright gives them. During Shakespeare's life, the concept of "family" changed from an extended network of relatives to a nuclear family, suggesting that the relationship between parents and offspring became more significant. A deepened understanding of children was the result. This is evident in the case of Macbeth's young Macduff. Like the ideal child of the age, he is brave, intelligent, and witty, but he also demonstrates touching emotional vulnerability: this combination of characteristics makes him, like each of Shakespeare's children, a vital part of the play. - Sarah Crockarell, dramaturg

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Losing Brad Pitt's Plan B puts focus on Paramount Pictures' strategy Exit of Brad Pitt’s Plan B said to fit Paramount Pictures’ strategy Carlo Allegri / AP Photo A pair of production companies aligned with Paramount rival 20th Century Fox, including New Regency, have announced a new multiyear deal with Pitt and his Plan B. A pair of production companies aligned with Paramount rival 20th Century Fox, including New Regency, have announced a new multiyear deal with Pitt and his Plan B. (Carlo Allegri / AP Photo) Daniel Miller The impending departure of Brad Pitt's Plan B Entertainment from Paramount Pictures would seem like a blow to the Hollywood studio, which is suffering from a perception problem.The studio is making fewer films these days, and enjoying smaller market share. However, Pitt didn't make many movies for Paramount, and the Viacom Inc.-owned company has insisted it is comfortable with a new, leaner approach to the business."Paramount's paradigm is a different model," said Richard Walter, a professor at UCLA's School of Theater, Film and Television. "It's a business organization run by MBAs, and I am not saying that in a pejorative way."PHOTOS: Celebrity production companiesPlan B, which was formed in 2002 by Pitt and then-wife Jennifer Aniston, has released only three movies with Paramount since signing a first-look deal with the studio in 2005.The most recent film, this summer's zombie thriller "World War Z," grossed $540 million worldwide. But the expensive Marc Forster-directed movie, which starred Pitt, suffered from production issues and required reshoots.The two other Plan B movies put out by the studio weren't big moneymakers. Pitt's company produced the comedy "Year of the Dog" and the thriller "A Mighty Heart" for Paramount's specialty film division Paramount Vantage. Both movies came out in 2007, with "Year of the Dog" taking in $1.6 million worldwide and "A Mighty Heart" topping out at $18.9 million.Plan B's deal with Paramount expires Dec. 31. On Tuesday, a pair of production companies aligned with Paramount rival 20th Century Fox announced a new multiyear deal with Pitt and his company. One of them is New Regency, which co-financed and co-produced arguably Plan B's most celebrated success — "12 Years a Slave." Paramount had no involvement in the critical darling, which was distributed by Fox Searchlight Pictures and on Wednesday was nominated for four SAG Awards — the most for any film.PHOTOS: Billion-dollar movie clubThe picture, about a free man who is kidnapped in 1841 and sold into slavery, is a commercial success but not a blockbuster. It has grossed $35 million worldwide since being released by Fox Searchlight in October, according to Box Office Mojo."We had a great experience with Plan B on '12 Years a Slave' and next year's 'True Story' and we really like each other," New Regency Chief Executive Brad Weston said. "It was a really organic outgrowth of a great relationship."A Paramount spokeswoman said studio executives were unavailable for comment. Plan B didn't return phone calls seeking comment.During Plan B's Paramount tenure, the production company found major success at other studios. Among the box-office or commercial successes Plan B produced elsewhere were "Kick-Ass," released in 2010 by Lions Gate Entertainment Corp. and grossed $96 million worldwide; and the 2011 prestige picture "The Tree of Life," which was directed by Terrence Malick, released by Fox Searchlight and took in $54 million worldwide.PHOTOS: Celebrities by The TimesParamount could continue to benefit from its association with Pitt and Plan B. The studio is moving forward with Pitt on a "World War Z" sequel, which "The Impossible" director Juan Antonio Bayona would direct. That project could be far more lucrative than the sort of art-house fare for which Plan B has mostly shown an appetite.Losing Pitt could mean losing cachet and buzz. But that loss could be offset by the news last week that the studio had signed a deal with Jerry Bruckheimer, one of Hollywood's most powerful producers. "The Transformers" and "Pirates of the Caribbean" filmmaker, who in the 1980s was based on the Paramount lot and had a string of hits there, signed a three-year, first look deal with the studio last week. He will make "Top Gun 2" and a " Beverly Hills Cop" film for the studio, which released the originals in those series to great success in the 1980s."The Bruckheimer deal probably at least compensates for if not exceeds the Pitt deal in terms of potential long-term positive financial impact," entertainment business analyst Hal Vogel said in an interview.Paramount has put out fewer movies than its rivals in recent years and seen its market share shrink as a result. This year, Paramount will release 10 movies, and plans to put out 12 next year.PHOTOS: Greatest box office flops Warner Bros., the biggest movie studio in terms of films released annually, will put out 18 films this year and 17 next year. According to Box Office Mojo, Paramount was No. 7 in terms of box-office market share this year as of Dec. 1. Last year it also finished seventh but was No. 1 in 2011.However, Paramount is profitable. For the fiscal quarter that ended Sept. 30, the studio posted adjusted operating income of $291 million, up 49% from a year earlier. Revenue was up 11% to $1.2 billion. "If you look at the economics, market share clearly is a barometer that people look at, but the barometer that Viacom looks at — and our shareholders look at — is our margins," Paramount Chairman and Chief Executive Brad Grey told The Times last week. "We have a business plan that works for us creatively, as well as for our shareholders."daniel.miller@latimes.comTimes staff writer John Horn contributed to this report. Follow @DanielNMiller daniel.miller@latimes.com MORE ON LOCATION: People and places behind what's onscreen Celebrity production companies Brad Pitt's Plan B Entertainment exiting Paramount Pictures Jerry Bruckheimer looks at Paramount reboot

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Little Women; Persuasion; Sense and Sensibilty: Triple Feature Winona Ryder, Kirsten Dunst, Christian Bale, Amanda Root, Ciaran Hinds, Emma Thompson, Alan Rickman & others. 3 DVDs Widescreen/Closed Captioned Here are three literary classics adapted for the screen in award-winning fashion. Emma Thompson delivers an Oscar-nominated performance as the "sensible" sister and also took home a statue for her screen adaptation of Sense and Sensibility in this 1995 production that received seven Oscar nominations, including Best Picture. The 1994 version of Little Women was nominated for three Academy Awards and features an Oscar-nominated turn by Winona Ryder as Jo. Lastly, Amanda Root and Ciar�n Hinds star in a 1995 adaptation of Persuasion, which won five BAFTA TV awards, including Best Drama.

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'Zero Dark Thirty' a first draft of history ★★★★ Zero Dark Thirty gets 4 star review The best film of 2012: Zero Dark Thirty, reviewed by Michael Phillips. (Posted Jan. 3rd, 2013) The best film of 2012: Zero Dark Thirty, reviewed by Michael Phillips. (Posted Jan. 3rd, 2013) Michael PhillipsContact ReporterChicago Tribune To consider what director Kathryn Bigelow has accomplished in "Zero Dark Thirty," imagine the events depicted by the story if they'd been given the "Argo" treatment.Not to take anything away from that rousing true (-ish) story of hostages freed and rights wronged and, in every sense, Hollywood triumphant. But think about it. If Ben Affleck or a lesser Ben Affleck had directed "Zero Dark Thirty," a film concluding with the raid on Osama bin Laden's compound in Abbottabad, Pakistan, nearly a decade following the deadly attacks of Sept. 11, 2001, we'd have been led down a very different moviegoing path. In "Zero Dark Thirty," the key American film of 2012, now going into wider release, Bigelow and screenwriter Mark Boal — the pair behind "The Hurt Locker" — are after something truer and more lasting than getting an audience to burst into applause when the bad guys are outfoxed. Nothing in the climax of "Zero Dark Thirty" settles for easy triumphalism. Everything about the film is potentially controversial, yet hardly any of it can be pigeonholed by way of ideology or politics.The raid on bin Laden's compound, much of it filmed through an approximation of night-vision goggles, necessarily sidelines the film's main character, Central Intelligence Agency operative Maya, played by Jessica Chastain. This is an odd thing for a movie, even a fact-based movie, to do to its protagonist. It is also the honest thing. With the same bittersweet artistry Bigelow and company lend their prologue, we return, briefly, to the main character's wary and exhausted company after the raid. She is a heroine (conflicted, perhaps; how conflicted is up to the viewer) behind the heroes. The prologue begins in darkness, and then fades into panicked voices. In a brilliant sound collage of telephone conversations back and forth from those trapped in the World Trade Center towers, the horror of that morning comes rushing back. Then, quickly, we're in Pakistan. Maya is the new kid in town, learning enhanced interrogation techniques (torture by any other name) and other tricks of the trade from her fellow CIA operative, played by Jason Clarke. "There's no shame if you want to watch through the monitor," he tells her. She declines. The waterboarding begins. "Zero Dark Thirty," its title taken from military phraseology for 12:30 a.m., is our monitor, the prism through which we see this world.We know little of Maya's past, just as we knew little of the bomb detonation expert played by Jeremy Renner in "The Hurt Locker." Bigelow and Boal are interested in the present tense, and experiences rather than explanations. As a tough, old-school CIA operative, the marvelous Jennifer Ehle shares a scene in a hotel bar with Chastain that hints at Maya's obsessive nature and blinkered personality. The way that scene ends is the essence of this coolly startling picture, one devoted to intelligence gathering of various methods, some effective, some amoral, under the most volatile imaginable conditions.Bigelow casts all sorts of solid and familiar actors in all sorts of roles, including Kyle Chandler as the CIA's Islamabad overseer, trying to decide which of his employees' hunches to take most seriously. The Navy SEALs who enter the action in the final round are played by, among others, Joel Edgerton and Chris Pratt. As for Chastain, she is by now a full-on movie star, as well as an unusually versatile and gifted actress. Hers may be a largely reactive role, but on screen Chastain can do almost anything. Better than that, she understands how much is needed in any given encounter. Here, less is enough.The naturalistic style of the picture owes a lot to the Olivier Assayas terrorist film "Carlos," and the actor who played the title character in that picture, Edgar Ramirez, shows up here as one of Maya's skeptical colleagues. Bigelow, a master of complicated lines and crosscurrents of physical action, doesn't treat everything leading up to the raid as a preamble or a necessary evil. The lead-up is, after all, the majority of the film. We move from one country to another, from one CIA "black site" to another, with Maya's frustrations guiding the narrative. The years and the casualties mount.Events depicted in the film, notably the waterboarding, have been debated from every side, both for their factual accuracy (not that anyone's complaining about the hogwash content in "Argo") and their political implications. I assure you: Although "Zero Dark Thirty" ends with the sight of a (metaphorical) bloodstained flag behind its elusive protagonist, its stance is extremely tricky. It's not a documentary. It's not a load of revenge nonsense. It's not "24." I'm still arguing with myself over parts of it.And that's a sign that a movie will endure.mjphillips@tribune.com'Zero Dark Thirty' -- 4 starsMPAA rating: R (for strong violence including brutal disturbing images, and for language)Running time: 2:37Opens: Friday Zero Dark Thirty (movie) The Hurt Locker (movie) Best movies of 2012 Worst movies of 2012 10 movies to see over the holidays

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'Arrested Development: Season 3' The cast of 'Arrested Development' The cast of 'Arrested Development' The cast of 'Arrested Development' Daniel FienbergZap2It.com Talk about ending with a whimper, rather than a bang, the third and final season of "Arrested Development" arrives on DVD in a neatly packaged two-disc set, the same kind of slim packaging that has accompanied canceled-too-soon FOX shows like "Action!" and "Greg the Bunny."After giving the Emmy-winning comedy two full seasons to find an audience, FOX butchered the conclusion of "Arrested Development," scheduling the show, pulling the show and finally burning off the last four episodes in a hilarious block that aired opposite the opening of the Winter Olympics. As a result, it's difficult to explain what, if anything, actually happened during the last 13 episodes, plot-wise. It had something to do with George Bluth (Jeffrey Tambor) insisting he'd been forced to work for the Iraqis, which somehow led Michael (Jason Bateman), Gob (Will Arnett) and Buster (Tony Hale) on a trip to the war-torn nation. George-Michael (Michael Cera) and Maeby (Alia Shawkat) continued to gravitate toward an illicit love, while Lindsay (Portia de Rossi) and Tobias (David Cross) continued to move apart.With the show obviously doomed, creator Mitch Hurwitz and the rest of the writing team began to directly reference the inevitable end, in a manner as postmodern as anything television has ever offered. Their frustration yielded brilliant moments like the "S.O.B." ("Save Our Bluths") episode that featured a shocking live ending and repeated pleas from the narrator (producer Ron Howard) to have viewers tell their friends about the show. The season also included a slew of bizarre guest stars. Interestingly, the DVD packaging makes no mention of Charlize Theron, whose multi-episode stint was based around a joke that wasn't explained until the end of her fourth episode (that whole MR F thing is actually much funnier the second time through). Scott Baio -- obviously oblivious to the humor of playing a character named Bob Loblaw -- and Justine Bateman get the featured treatment.Not surprisingly, the reason to buy the third season of "Arrested Development" is to have the episodes on DVD, rather than any bonus features. Although the show's quality was a bit erratic in its last season, the humor pushed in progressively more absurd directions and the number of fleeting sight-gags and in-jokes for devoted fans demand repeat viewing.The bonus features include deleted and extended scenes and the sad "Last Day on Location" featurette. There are also a trio of commentaries with Hurwitz and nearly every regular cast member. The only absence is Tambor, so much of the second commentary -- on the "MR F" episode -- is devoted to attempting to contact the wayward Emmy nominee via a variety of phone numbers. The chatty commentaries, as overlapping as an Altman film, have a few recurring themes including de Rossi's hotness, the uselessness of FOX network notes and a series of stabs at ABC's short-lived "Sons & Daughters."The final commentary ends with musing on the show's future. At first, Hurwitz kids that "Arrested Development" will return as a series of Russian nesting dolls. As the cast reaches an agreement that a movie sounds like a good plan, Arnett comes up with the best idea of all, noting, "I think we should make it a movie and then spin it off into a TV show." DVDs and Movies Arrested Development (tv program)

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DANIEL SLADEK ENTERTAINMENT Production / Talent & Brand Management 8306 Wilshire Blvd. #510 Beverly Hills, CA 90211 Ph: (323) 934-9268 Email: danielsladek@mac.com Talent Manager & Award-winning producer Daniel Sladek was nominated for the 2010 Primetime Emmy Award & the Producers Guild of America Award as Executive Producer of PRAYERS FOR BOBBY, the critically acclaimed film starring Emmy Award, Golden Globe Award and Screen Actors Guild Award nominee Sigourney Weaver (as gay rights activist Mary Griffith). The film won the 2010 GLAAD AWARD and the Entertainment Industries Council PRISM AWARD, among others. Prayers for Bobby (a Once Upon A Time Films in association with Sladek Taaffe Productions & Permut Presentations production for AETN/LIFETIME) is now available on DVD in retails stores globally and via Amazon.com. www.prayersforbobby.com In 2013, Sladek was Consulting Producer on the FOX Latin talent series Q'VIVA! THE CHOSEN starring Jamie King, Jennifer Lopez & Marc Anthony (produced by Simon Fuller's XIX Entertainment). Sladek was also Consulting Producer on Q'VIVA LIVE! AT MANDALAY BAY ARENA. Other credits include Co-Executive Producer of the independent feature film THANK HEAVEN starring Jenny McCarthy. Prior to the 1998 creation of Daniel Sladek Entertainment Corp., Sladek and Silvio Muraglia launched Cine Grande Corporation where they together produced Dimension Films' RUSSELL MULCAHY'S TALE OF THE MUMMY starring Jason Scott Lee, Louise Lombard, Christopher Lee, Gerald Butler, Jack Davenport, Lysette Anthony, Shelley Duvall and Michael Lerner (Fantafestival Rome Film Festival; Special Jury Award "Best Production" - Daniel Sladek & Silvio Muraglia, Producers - Dimension Films' Talos The Mummy); USA Pictures SUB DOWN starring Stephen Baldwin, Tom Conti, Gabrielle Anwar, Kevin Connolly, Chris Mulkey and Tony Plana (from a Story by Muraglia and Sladek); HBO's SILENT TRIGGER starring Dolph Lundgren and Gina Bellman directed by Russell Mulcahy; and Dimension Films' HIDDEN ASSASSIN starring Dolph Lundgren and directed by Ted Kotcheff. MANAGEMENT - DIRECTOR JAMIE KING Daniel Sladek is also the longtime manager of acclaimed director Jamie King. King is the iconic writer & director of the new Las Vegas spectacle Cirque du Soleil's Michael Jackson ONE at Mandalay Bay as well as the ongoing blockbuster global arena tour Cirque du Soleil's Michael Jackson THE IMMORTAL World Tour. Also a television personality and acclaimed choreographer, King has directed nineteen superstar tours for artists including Madonna, Britney Spears, The Spice Girls, Pink, Christina Aguilera and Ricky Martin and is the creator of the Nike Rockstar Workout and author & creator of Rock Your Body™, the best-selling dance fitness DVD and book. www.jamiekingofficial.com Having represented numerous celebrities over a period of fifteen years including LORD OF THE RINGS star Sir Christopher Lee, Ian Richardson, Ian Bannen, Alexandra Paul, Lysette Anthony, series creator / writer William Bickley, and EUROPA EUROPA star Marco Hofschneider, current DSEC management clients include celebrity designer RYAN BROWN (star of Bravo’s FLIPPING OUT and TLC's MAD ABOUT THE HOUSE). Prior to creating Cine Grande, Sladek served as Executive Vice President of Quinta Communications USA where he was Executive in Charge of Production of Quinta's 1991 - 1993 programming slate: USA Networks' VOYAGE starring Rutger Hauer, Eric Roberts and Karen Allen; USA Networks critically acclaimed NOBODY'S CHILDREN starring Ann Margret, Dominique Senna, Jay O. Sanders and Clive Owen; and Universal Pictures' FOREIGN STUDENT starring Robin Givens and Marco Hofschneider. From 1987 to 1991, Sladek was Vice President of Creative Affairs at Ed Snider and Michael Jaffe's Spectacor Films where he served as Executive in Charge of Production on HBO's WEDLOCK starring Rutger Hauer, Joan Chen and Mimi Rogers; Co-Producer of NBC's SHATTERED TRUST starring Melissa Gilbert; and Co-Producer of MAD AT THE MOON starring Mary Stuart Masterson and Hart Bochner. Over a period of four years, Sladek participated in the development and production of over 20 television movies and mini- series including NBC's THE HIJACKING OF THE ACHILLE LAURO, NBC's mini-series THE GREAT ESCAPE II and NBC's THE TAI BABILONIA STORY while also supervising in-house production deals and international distribution. In 1987, Sladek founded (along with actress Alexandra Paul) and was president of entertainment industry philanthropy Young Artists United, uniting celebrities and other industry professionals in a non-profit organization dedicated to helping teens in need nationwide. A lifelong community and political activist, Sladek was the recipient of the PFLAG National Entertainment Industry Leadership Award in 2010 and named one of the Top Ten Community Activists by Los Angeles' Frontiers Magazine. He has participated in numerous conferences as a guest speaker & panelist including the 2012 annual Conference on World Affairs at the University of Colorado, Boulder. He served for two years as a member of the Board of Directors of the Jewish National Fund of Los Angeles, was Co-Chair of the 2004 Lawyers Committee for Civil Rights Under Law ELECTION PROTECTION benefit (Los Angeles), and was Chair of the 2010 PFLAG NATIONAL LA EVENT GALA. Daniel Sladek is a member of the Producers Branch of the Academy of Television Arts & Sciences. He studied film at the University of Colorado at Boulder and is a Producer Fellow of the American Film Institute. Over a period of fourteen years, Sladek served as a faculty member at UCLA’s Film and Television adult education program (UNEX). Highlights from Prayers for Bobby at the Emmy Awards & GLAAD Awards PHOTO: GLAAD SIGOURNEY WEAVER & Executive Producers DANIEL SLADEK & CHRIS TAAFFE ACCEPT THE GLAAD AWARD for PRAYERS FOR BOBBY Video courtesy of GLAAD

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Movie Beat: “The Heat” misses the target Rated R for language, strong crude content and some violence Written by Katie Dippold Directed by Paul Feig Starring Sandra Bullock, Melissa McCarthy, Marlon Wayons, Michael Rapaport, Jane Curtin and more. Grade: One day, Hollywood will figure out how to make an engaging, tightly-plotted action movie with women in the lead roles. Sadly, that day is not today. Though it does offer some laughs and a pair of well-known actresses as its stars, “The Heat” consistently fails to deliver as a buddy cop movie. The partnership is unbalanced, the characters are even more clichéd than is the norm for the genre, and the script too often resorts to humiliating Bullock’s character instead of making her interesting. This is no “Lethal Weapon,” no matter how much it wants to be. The plot follows the basic buddy cop movie formula, pairing an arrogant, by-the-book FBI agent (Sandra Bullock) with a reckless, rule-breaking street cop (Melissa McCarthy). They’re forced to work together on a case, and in a good movie they would learn from each other and grow as human beings while they were busy shooting at the bad guys. Here, though, the script and director seems to already consider McCarthy’s character an ideal cop, even though she’s extreme enough to qualify as a parody of the reckless cop stereotype. She emotionally abuses her captain to the point that she should probably be both fired and sued, and her personal hygiene and bathroom behavior are pulled from the last decade or so of redneck jokes. Even worse, from a narrative standpoint at least, is the fact that neither she nor the screenwriters are willing to entertain the possibility that she might ever be wrong about anything. Frankly, watching someone be right all the time is boring. It’s also boring to watch someone be wrong all the time. Bullock’s character makes all the concessions in the partnership, and the center section of the movie is pretty much nothing more than her character getting things wrong over and over again. Yes, the stuffy character needs to have the starch shaken out of them, but all “The Heat” seems to be trying to do is making the character look pathetic. If you don’t believe me, they also made her a former foster kid (never adopted, naturally) and had her steal a neighbor’s cat so she had someone to cuddle. You can feel the damage this imbalance does all the way through the movie. At the beginning, it drains the interest out of their antagonistic snapping – a fight is never as fun to watch when the same person always loses. At the end, it makes their friendship feel cheap. Both actresses do what they can to overcome the lack in the script. Bullock has a gift for physical comedy, making a scene where she has to drag herself around a hospital funnier than it has any right to be. McCarthy is hilarious, and I delighted in every scene where she rejected men she’d previously slept with who kept trying to get back together with her. Between them, they made the obligatory “let’s get depressed and completely drunk” scene totally delightful. The movie as a whole, however, was not. At best, it’s a flawed beginning to the glorious action-girl future I dream of. Copyright 2016 The Davis Clipper. All rights reserved. Movie Beat: Despite Matt Damon's efforts, "Jason Bourne" a disappointment Movie Beat: Chris Pine, Ben Foster and Jeff Bridges shine in fantastic “Hell or High Water” Movie Beat: Cast (except for Jared Leto), characters best part of "Suicide Squad" Movie Beat: Let Jason Bourne get some sleep

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Dr. Dolittle: Tail to the Chief Fox // PG // $19.98 // May 27, 2008 Review by Aaron Beierle | posted June 14, 2008 Currentfilm.com Review: One of the more distressing trends in movies today is the sequelization of...well, just about anything. It seems like every other week, another direct-to-video sequel to a movie with a cast of no-namers. This time around, we get another "Dr. Dolittle", although this time it's without Eddie Murphy (it's explained that the doctor is off in the Arctic or something like that.) This time around, Maya (Kyla Pratt) - Dolittle's daughter - is the focus. She's having difficulty getting into an elite college and, when the secret service comes calling because of trouble with the president's dog, she thinks that a recommendation from the White House will result in her being a shoe-in for the school. When Maya arrives at the White House, she finds an upset President (Peter Coyote, looking rather embarassed and I can't say I blame him), desperate for help in trying to correct a dog that, according to him, stands as some sort of symbol for the administration (not saying much about the administration...oh wait.) and training the dog will also somehow smooth things over with an African nation where there was an incident with the President during a treaty signing. Daisy the dog has been wrecking the White House and wastes no time in tearing up the President's wildlife ranch when Maya and the President head to the retreat. Of course, the animals don't cooperate - and, it's not exactly surprising that Maya manages to fix (in an emotional way, I mean) both Daisy and the President's upset (due to the fact that her days are made-up largely of press events and other "dull" happenings) daughter. The film's humor is pretty bland slapstick along the lines of most kiddie films - yes, there's the occasional bathroom joke - but the positive messages of wildlife conservation are delivered in a way that's not too heavy-handed. The performances are decent, considering the forgettable material. Pratt is really the best element of the film, as her performance remains rather charming throughout. Norm McDonald, who (unfortunately, because I think he's funny) probably didn't have much else going on, takes the voice role of Lucky the Dog for the fourth time. Quite simply, this is average, unoffensive fare for kids. While Pratt offers a very good performance given the material, there's just not enough movie here (the story is very slight) to make this worth recommending as more than a rental for kids. VIDEO: "Dr. Dolittle: Tail to the Chief" is presented by 20th Century Fox in 1.85:1 anamorphic widescreen. The screening copy of the film that was provided offered somewhat subpar image quality, with below average sharpness/detail and some occasional mild artifacting and edge enhancement. However, this is still not the final copy and unfortunately, I cannot make any final comments on it, as the retail copy may offer differing image quality. SOUND: Despite being presented in Dolby Digital 5.1, I don't think it'll surprise anyone to hear that there's very little going on in this audio presentation. Surrounds offer some slight ambience and reinforcement of the score, but the audio is otherwise front-heavy (and not exactly spread widely across the front soundstage, either.) Audio quality is fine, with clear dialogue and music. EXTRAS: A few short featurettes make up the extras section: "Critter Casting Sessions", "Working With Actors of a Different Breed", "Goin' Wild" and "Learning About Endangered Animals". Of the bunch, "Animals" is the most informative and interesting. Finally, we get an "Inside Look" promo for "Horton Hears a Who". Final Thoughts: Pratt shines in the latest "Dr. Dolittle", but the rest of the movie - while well-intentioned in spots - is bland and blah when it comes to humor. A light rental recommendation for kids who were fans of the previous films.

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The Last Days of Disco The Last Days of Disco came out in 1998, when I was around the same age as the film's now-legendary protagonists. Like Charlotte and Alice (immortalized by Kate Beckinsale and Chloë Sevigny), I'd just graduated from college and had moved to Manhattan to participate in "group social life." And like these ambitious disco divas, my roommate and I were quick studies at balancing work and play: we spent our days scrambling up the corporate ladder, and our nights perfecting our dance moves and our bar banter. However, I'd never actually watched Last Days all the way through. I'd always meant to revisit Whit Stillman's homage to disco and the ladies (and gentlemen) who loved it, especially after it became a cult fave, but was distracted by other pieces of cultural ephemera. So I was thrilled to catch a special screening of the film last week at the MoMA, as part of the museum's PopRally event series (http://www.moma.org/poprally/index). A decade after the film's release, Last Days still has a lot to say about the post-college experience of moving to a big city, finding oneself, creating a life, finding and losing friends and lovers, and figuring out how to get ahead at work. Speaking of work: how refreshing to see a film take a young woman's career aspirations seriously, and even incorporate them in the plot! Charlotte and Alice lived for the night, but that didn't mean that they sleepwalked through their days as publishing assistants – and Alice, at least, is rewarded for her efforts. As for the film's other hallmarks, like the yuppies, the smarmy ad execs, and the ostentatious '80s fashion, our current financial crisis may have all but wiped out the night-clubbing big-spenders (not to mention many of the clubs!), but the end scene of several newly-jobless characters leaving the unemployment office felt eerily timely. Likewise, the leggings, ankle booties and one-shoulder shifts looked fun and contemporary – or maybe they just never really went away. I wish I could say the same about director Whit Stillman, who has a special knack for depicting young urban strivers (notice I didn't say "yuppie") in their natural setting. Stillman, who participated in a Q&A after the MoMA screening, told a crowd of Disco fans that he's hoping to film a new movie in Jamaica. Until then, for those who want to relive the 80's via the 90's in Stillman's last and best-to-date film, the Criterion Collection will be releasing the DVD of The Last Days of Disco on August 25.—Corrie Pikul, Associate Articles EditorRead Next: Swedish Singer Seinabo Sey On Her Rap and Soul Inspirations Watch the "Activated" Video Cher Lloyd Made for Her Fans The 9 Best Things About Frank Ocean's New Album KAYE's "UUU" Video Will Make You Want a Bronze Catsuit Dolly Parton: "I Hope I Just Fall Dead in the Middle of a Song" Frank Ocean's Album Is Finally Here 22 of Dolly Parton's Most Glorious Looks Please Let This Glorious Beyoncé-VMA Rumor Be True Stay Out All Night with KATIEE's Dizzying New Video Viral Internet Star Rebecca Black Is Back With a Huge Pop Mash-Up

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Yes, A 'Big Lebowski' Spinoff Is Coming Soon Conor McGregor Doesn't Believe in Death Kim Kardashian's Best Swimwear Moments What Justin Bieber Could Learn from Shirley TempleShe knew when (and how) to run away from her fame Popperfoto/Getty Images Stephen Marche Shirley Temple died last night, far from her fame. A publicist announced that she was surrounded by her family in her home in Woodside, California. She must have known which picture was going to appear in the obituaries. An eighty-five-year-old lady with a lot of life behind her would inevitably be recalled as a six-year-old girl. Shirley Temple was the first child movie star, but she was also the wisest. She understood the cruelty of celebrity before its trajectory was so well-established.Advertisement - Continue Reading BelowIt's still hard to imagine the supersize, absolute celebrity that Shirley Temple achieved. At her height, she made Brad Pitt today look like a provincial touring actor. She was, by far, the biggest box office draw for four consecutive years, from 1935 to 1938. The sheet music of "On the Good Ship Lollipop" sold half a million copies. She was more than famous. As a child star, she was the icon of her times. She represented the desires as well as the aspirations of the whole world. She was pluck embodied. She was hope and determination embodied. She was cute, white innocence embodied. And she achieved the apotheosis of fame: She was turned into a cocktail. That's as close to eternity as celebrity culture gets. Most PopularShe also had the great fortune to be smart enough to recognize in later life what all this fame was about. The Internet is full of "where are they now" stories, and they are almost never happy. We currently seem to be witnessing the collapse of Justin Bieber, who once accounted for three percent of the server capacity of Twitter. Stephen King, talking about Justin Bieber, tweeted what we all already know: "For the young celeb, life is a banquet of free food. What they don't tell you is that you are often the last course."Shirley Temple about the monstrosity of celebrity from an early age. "I stopped believing in Santa Claus when I was six," she said. "Mother took me to see him in a department store, and he asked for my autograph." She gamely tried to make a post-childhood career for herself, but quickly realized that the public didn't want her as an adult. They remembered her as a child, and she was physically unremarkable as a teenager. She no longer represented pluck or the aspirations of the Depression-era public. She no longer represented anything to anybody. Instead of completely falling apart, she rebuilt. In light of the careers of later child stars, her life after fame is something like a miracle. Not only did she retire and marry a citizen and remain happily married to him for fifty-four years, she even managed to develop a healthy relationship to her earlier work. In the 1960s, when the inevitable nostalgia for her '30s output reappeared, she did not try to become a new Shirley Temple. She did television shows and books for children, just like the public wanted.Then, most miraculously of all, she became useful. She raised children. She was president of the Multiple Sclerosis Society. She was appointed to the United States delegation to the United Nations. In 1974, she was made ambassador to Ghana, and by all reports was superb at the job. When she was ambassador to Prague, she earned praise from Henry Kissinger.Her story should give hope, but also guidance, to former child stars. She saw the size of her fame and knew its destructive power intimately. "Any star can be devoured by human adoration, sparkle by sparkle," she said. Shirley Temple figured out that her fame had very little to do with herself. It had much more to do with what people needed at a particular time at a particular place. She triumphed by overcoming any residual hunger for the love of a public that wanted to love her to death.The lesson for Justin Bieber should be obvious. It's time to come home to Canada, attend university, maybe get a law degree, find somebody to marry, and then twenty years from now, when all the little girls who had posters of him on their walls are running the world, become prime minister. Shirley Temple showed that that's not impossible. All it takes is a little humility and hard work. That's how you end up dying surrounded by a family that loves you rather than dead in a ditch in a yellow Lamborghini.Read Next: More FromEntertainment How Frank Ocean Put the Beatles and Andre 3000 on HIs New Album Yes, A 'Big Lebowski' Spinoff Is Coming Soon. Here's What We Know. Bet You Can't Keep a Straight Face While These 'SNL' Stars Crack Up This Video Proves Beastie Boys Goes Better With 'Rogue One' Than 'Star Trek' Matthew McConaughey Has a YouTube Channel No One Knows About This Rich Kid of Instagram Was Reportedly Living in a Rental Bedroom War Dogs Elevates the Bro-Buddy Comedy With Bush-Era Burns Ryan Adams is Fully Embracing '80s Hair Metal, and It's a Beautiful Thing Director Mike Judge Says It's 'Scary' How 'Idiocracy' Has Come True How 'Jurassic Park' Changed The Way Movies Use Digital Animation justin bieberLive Sessions: Watch Justin Townes Earle Perform Fleetwood Mac's 'Dreams'Leonardo DiCaprio's Snub Spree Continues With Justin Bieber The Man Behind Justin Bieber Rest in Peace, Shirley Temple , 85Advice on How to Get Justin Bieber Street CredCan Justin Bieber Be Deported? Yes and No but Mostly No and Also Why?

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TV Poppy Awards 2016: Vote for your... TV 'Brooklyn Nine-Nine': Before The... Movies Patrick Swayze: His Life in Pict... TV 'Survivor: Millennials vs. Gen X... Movies 'Fast Times At Ridgemont High':... TV 'Weeds': 21 of the Best Guest Stars Music This Is What Woodstock Looked Like TV 18 Stars You Forgot Were on 'Bay... Music Flashback to The Beatles' Famed... Movies Flashback to the 1996 'Tin Cup'... TV The 25 Most Memorable Nicktoons... News 15 Models-Turned-Actresses Movies 'Fantastic Beasts': Meet the Cre... Movies 'Rogue One' trailer: An analysis... TV TV's Biggest On-Set Fights TV See The Voices Behind Your Favor... TV See The Voices Behind Your Favor... Movies Flashback to the 2006 Premiere... Movies Fantastic Beasts: 5 Exclusive Ne... TV 14 of the Most Talked-About Mome... Movies Chris Pine’s Most Memorable Role... TV See 'Boy Meets World' Characters... TV 'Grey's Anatomy': The 20 Best Sp... Movies Battle of the Movie Bands TV 19 Stars You Forgot Were on 'The... News 10 of Anna Kendrick's Best Moments Music | The Music Mix Reformed Van Halen performs intimate NYC gig Van Halen Posted January 6 2012 — 6:51 AM EST They’ll be playing arenas when they tour next month, but on Thursday night, a regrouped Van Halen provided thrills in a tiny club where a VIP crowd stood elbow to elbow as the storied band played some of their greatest hits including “Jump” and “Panama.” “Welcome to Occupy Van Halen, ladies and gentleman!” frontman David Lee Roth yelled just before the band launched into “You Really Got Me,” the first in an approximately hour-long, high energy set. The show was at the famed Café Wha? in New York’s West Village — a club owned by Manny Roth, the uncle of Roth. David Lee Roth noted some of the greats that played in the club — including Bob Dylan — and told the crowd, “I’m more nervous about this gig than I would ever be in the Garden,” referring to Madison Square Garden. The band will soon be playing the Garden and other venues like it, as they kick off a nationwide tour next month. The Rock and Roll Hall of Famers start the tour in Louisville, Ky., on Feb. 16, and will tour through June, hitting cities like Boston, Atlanta and Chicago. They’ll also be promoting a new album: The group announced Wednesday that they’ll release A Different Kind of Truth on Feb. 7, the group’s first album with Roth since their celebrated album 1984, released that same year. Van Halen has gone through plenty of changes since then. Roth left the band for a solo career and was replaced with Sammy Hagar in a messy breakup; he later returned to the band as Hagar exited in a split that had just as much discord. There would be more turmoil as bassist Michael Anthony was replaced a few years ago with Wolfgang Van Halen, the son of guitar great Eddie Van Halen. But it was all smiles on Wednesday, as father and son, along with Eddie’s brother and drummer Alex were all on hand as the reconstituted group played a warm-up of sorts before their nationwide tour, their first together in almost four years. “This has been a really long time coming,” Roth told the audience. The band hardly seemed rusty. Though his mic was weak, Roth’s voice wasn’t, as his signature screech was in top form, as was Eddie Van Halen’s scorching guitar play on songs like “Hot for Teacher” and “Dance the Night Away.” Roth joked about the small size of the club: “The last time I stood on a stage this low, I had to get the car home by midnight.” Later, he talked about how he used to wander through the club as a kid, dreaming of a chance to play on its stage. “It took us 50 years to get this gig. It was easier to get in the Rock and Roll Hall of Fame than to get this gig,” he said. Roth’s uncle Manny, now 92, was in the audience, sitting next to John McEnroe, one of several luminaries in the crowd. “It’s come full circle,” said a beaming David Lee Roth amid the audience’s cheers. Reunions Top Stories

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The Music of Nashville: An Essential Playlist The official soundtrack for ABC's Nashville was released this week, and in case you haven't been keeping up with the series, we've put together a playlist to help you catch up before it returns in January."The music is as much a part of the narrative as the dialogue," according to creator Callie Khouri, whose husband, renowned producer T-Bone Burnett, is the series' musical director. (Check out ABC's accompanying On the Record web series for additional insights into the music from the actors and producers.)And not to worry - though Nashville takes place in the titular country music capital of the world, its songs have mass appeal, even for viewers who aren't fans of twang. With the character of Juliette Barnes (Hayden Panettiere) in particular, the show has jumped on the Taylor Swift bandwagon and is riding it all over the blurry pop-country landscape. And though the actors perform all the songs on the soundtrack themselves, Burnett, Khouri and the behind-the-scenes team have tapped songwriters including Elvis Costello, Kate York, and local Nashville-ites to pen the music.Fall TV Scorecard: What's renewed/canceled?Here are our Top 5 tracks from the soundtrack:"Love Like Mine" - Written by Kelly Archer, Justin Weaver and Emily Shackelton, performed by Juliette (Panettiere)Juliette's hit single, which she performs in front of a screaming stadium audience in the pilot episode, made it clear from the start that Nashville's music was going to be as engaging as its story lines. Good luck getting this one out of your head."I Will Fall" - Written by Kate York and Tyler James, performed by Scarlett and Gunner (Clare Bowen and Sam Palladio)"The songs are always the subtext for what they're actually experiencing," says Khouri about the songwriting duo Scarlett and Gunner. "They're always singing songs about people falling in love with each other, or unrequited love." This tearjerker of a ballad is the track they're working on when Scarlett's boyfriend Avery (Jonathan Jackson) walks in on them. Awkward!Nashville: Good guys vs. bad guys"Buried Under" - Written by Natalie Hemby and Chris DeStefano, performed by Rayna (Connie Britton)When Rayna tells her husband Teddy (Eric Close) she's writing a song about herself "for once," the end result is "Buried Under," which we learn will be the first track recorded for her new album and the one that will mark the debut of her new, edgier sound. "It's about her dad and then all the stuff that kind of unfolds with Teddy," says Britton, "and it's sort of about this world that she's been intertwined in for her whole life.""Undermine" - Written by Trent Dabbs and Kacey Musgraves, performed by Juliette and Deacon (Panettiere and Charles Esten)The song that Juliette and Deacon write together is a real eye-opener for him. "It's the first time that you really see her talent and the heart behind her, being able to write it right off the top of her head," explains Panettiere. "It's a really great moment." No wonder they end up in bed together after the session!"Twist of Barbwire" - Written by Elvis Costello, performed by Avery (Jackson)Struggling musician Avery is resentful of his girlfriend Scarlett's musical success, so he writes songs like the sharply self-pitying "Twist of Barbwire" to deal with his frustration. (Fun fact: Jackson is an accomplished songwriter in his own right, and has been playing in the indie rock band Enation since 2002.)Nashville returns Wednesday, Jan. 9 at 10/9c on ABC.View original The Music of Nashville: An Essential Playlist at TVGuide.comRelated Articles on TVGuide.com Fall TV Scorecard: What's renewed/canceled?Nashville: Good guys vs. bad guysOther Links From TVGuide.com Connie BrittonHayden PanettiereJonathan JacksonCallie KhouriEric CloseElvis CostelloCharles EstenT-Bone BurnettNashvilleClare BowenSam Palladio

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AP: Albert Brooks Pleased With UAE Premiere AP: Albert Brooks Pleased With UAE Premiere Indiewire Albert Brooks says he wasn’t looking to bring world peace, he was doing just what his new film’s title said, “Looking for Comedy in the Muslim World.” At its world premiere at the Dubai International Film Festival, Brooks said he was concerned Abdullah bin Zaid al-Nahayan, the minister of information of the United Arab Emirates, would lead the audience out of the theater. Instead, “they went crazy. I thought, I passed the test, it’s O.K. The sheik is laughing; he’s talking to the guy next to him in Arabic and pointing at the screen. And no one walked out,” Brooks told The New York Times for Sunday editions. A.P. reports.

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Archives | Liuchun Yang / By Indiewire Team The Story of Qiu Ju The Story of Qiu Ju is a 1992 Chinese comedy-drama film. The film was directed by Zhang Yimou and, as in many of his films, stars Gong Li in the title role. The screenplay is an adaption of Chen Yuanbin’s novella The Wan Family’s Lawsuit. The film tells the story of a peasant woman, Qiu Ju, who lives in a rural area of China. When her husband is kicked in the groin by the village head, Qiu Ju, despite her pregnancy, travels to a nearby town, and later a big city to deal with its bureaucrats and find justice.

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After The Sapphires came out, Jack Coyle at The Huffington Post compared you to Bill Murray, in the 70s for enlivening the film “with your winning charisma.” And I wondered how you felt about that comparison. I read that Murray is one of your icons of comedy and that you just worked with him this last summer on St. Vincent de Van Nuys. Wow. I’ll take that! Yea he is, he’s one of my heroes. And I did. I briefly worked with him this summer and he was just the most charming and lovely man. So that just solidified him in my books as a cool dude. It’s a lovely comparison, of course I’ll take that all day, but I don’t know necessarily if it’s true. I’ve got a long, long way to go yet.Who are some of your other inspirations for acting and how did you get started in the industry?In terms of other people that I really enjoy watching, one of my heroes would be John C. Reilly. I feel like I could just watch him do anything. Philip Seymour Hoffman was a big hero of mine. Those guys were pretty great, and then you know someone like Will Ferrell who’s so consistently funny.I went to university and while I was studying I joined the drama society and started doing plays there. Essentially, I stopped being part of the “yearly facility,” as it were, [and only] did maybe two or three plays there a month. It was a great way to just get used to it. You did dozens of plays and they’re not necessarily the greatest quality, but you really get so much stage time and you get your confidence. Then I went to drama school in London. I went to the London Academy of Music and Dramatic Arts and that was more of a traditional, almost like Shakespearian teaching. And I guess I thought of myself as a dramatic actor then, so the fact that I went into comedy was a surprise. I had three or four jobs that were dramatic and I just didn’t see comedy as a realistic thing that I could achieve or an option. But I’m glad that it was. What was the catalyst for the shift from perceiving yourself as a dramatic actor to a comedian?I played a comedian in a film called Festival. And it was a comedy but it was a relatively dramatic role; there was a lot going on. He was an alcoholic comedian who wins an award at the Edinburgh Comedy Festival and I ended up winning a BAFTA in Scotland for it and then I got a lot more comedy roles from that. “The IT Crowd” came from that, and sitcom is the purest kind of comedy you can do. It’s such a set-up-and-joke scenario. There’s no room for interpretation – what you’re doing is trying to make people laugh. That’s the raison d’ être of the sitcom and I love that in it’s own way because it’s its own little art form. From then on it was a lot more comedy I would get offered, and once I got into the mechanics of how comedy worked I was fascinated by it. And then I got to work with Judd [Apatow] (This Is 40), Kristen Wiig (Bridesmaids), Lena Dunham (“Girls”), and all of those people over the last two years, which has been great.What’s it like coming from a traditional acting school and going to people like Lena Dunham and Judd Apatow and Christopher Guest who really encourage improvisation? Especially for something like Guest’s “Family Tree” where the dialogue is completely improvised. Was that new to you, or did improv come naturally?I guess it did to an extent. I hadn’t done improv on stage or anything before. I’d always done a little bit of it in some work I’d done, but not to the extent that we did in “Family Tree.” And that is quite a scary experience. But working with Lena and Judd, their scripts are already really strong so there’s definitely room to improv and those guys are so open to it, but there isn’t a huge need to do it, so the pressure isn’t as much, so you only do it if you feel like you’re going to add something to it. It’s a great scenario to do improv when it’s not totally necessary, where you’re hoping that you’ll add something to it but you’re not getting in the way. You often do it at the end of scenes and stuff so people can cut it out if it’s shit.My last question for you: You played Gaelic football. Can you tell us a little about the athlete Chris O’Dowd?Oh wow [laughs] yea! It’s a great sport and I still follow it. I played minor for Roscommon, actually all the ages – under 14, 16, 18, 21. And then I played in the Connaught finals and all that kind of stuff and, er, I guess I stopped playing once I really started enjoying Jamesons.“Moone Boy” premiers April 24 in the U.S. on Hulu. Previews for Of Mice and Men begin March 19. Opening night is April 16 and the limited engagement runs through July 27 at the Longacre Theater in New York.For more visit Irish America magazine here. < Prev Top ten greatest Irish singer-songwriters

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Taylor Swift and Tom Hiddleston reportedly have first "major argument" over schedules Vanity Fair: The Hollywood Issue 2012 Adepero Oduye Brit Marling Elizabeth Olsen Felicity Jones Jennifer Lawrence Jessica Chastain On the front cover:Jennifer Lawrence, Jessica Chastain, Mia Wasikowska, Rooney Mara. On the inside flaps:Elizabeth Olsen, Adepero Oduye, Shailene Woodley, Paula Patton, Felicity Jones, Lily Collins, and Brit Marling.Shot by Mario Testino. Are you bored?I am bored. And I love most of these women. But it’s just... all one colour, you know? And I don’t actually mean the obvious, although we’ll get to that in a minute. I’m just saying there hasn’t been all that much imagination in a Mario Testino shoot in a long time. Style-wish, aside from the lighting, it not a major departure from last year either. Click here to see. I’m surprised that Emma Stone’s not here. Yes, Emma Stone has made the Hollywood Issue before, two years ago, but she wasn’t on the cover. Mia Wasikowska was featured in that same issue, also not on the cover. Just like last year, Jennifer Lawrence was included after the fold. So it’s her second year in a row with a promotion. Not that I think Emma’s presence would have made a difference. It’s just her name had to have come up when putting together this list, certainly sitting even with the four who front the issue. Maybe they’re saving her for something else closer to the release of Spider-Man.Oh look!Two token black people!In a year when both female acting categories at the Oscars could be won by black actresses, Hollywood says it’s doing fine, it’s doing enough, it’s inclusive, so stop complaining. You too, Hispanics. And Asians. Didn’t you watch The Help? Why do you have to be so whiny about life? Short videos with the four cover actors are below. Jessica Chastain is adorable and open and sweet. Jennifer Lawrence, as usual, is the most gregarious. Mia Wasikowska is reserved, genuinely, but honest with her answers and really cute as a Tilda Swinton fangirl. As for Rooney Mara, well, she’s predictably aloof, obviously. So aloof she won’t name an actor to be admired, saying only that the ones she admires are the ones who fly under the radar, whose work has not been consumed by the “masses”. And of course Thom Yorke on her bedroom wall. According to the Aloof Girls’ Handbook, Radiohead is the soundtrack to their lives. She knew of them before Creep, ok? Like when she was 7.Click here for more on the Vanity Fair Hollywood Issue. Rogue One official trailer debuts during Olympics, showing off new characters Oliver Stone's Snowden builds good buzz at Comic-Con as new trailer is released for the film

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FEMME Documentary Review - Women Healing the World Starring Sharon Stone, Marianne Williamson By Michelle Arbeau - Celebrity Numerologist Synchronicity has guided my life for some time now and I’ve come to learn that when something is seemingly dropped into your lap randomly, it’s usually not random at all. A week ago, out of the blue, I received an email about a documentary called FEMME: Women Healing the World starring and produced by Sharon Stone with a link to a free preview of the film. I don’t watch much TV in general unless I feel like I’ll gain something positive from it but there was something about this piece that called to me. After watching the documentary, I was in awe of how beautifully the director represented the concept of the shift of rebalancing of feminine power happening in the world right now. I was intrigued, to say the least. Interview with Director Emmanuel Itier FEMME is an inspirational voyage of women around the world who are actively transforming and healing global society on a daily basis. It highlights the movement toward women regaining equilibrium and standing tall in their feminine essence once again, transforming the so-called man’s world into one of equality of the feminine/masculine energies. As a woman who has really stepped into my personal power and feminine energy over the past few years, I wholeheartedly believe a documentary like FEMME was long overdue but I was shocked to find that the creator behind this brilliant film is a man. I sat down with Emmanuel Itier at the Conscious Life Expo in Los Angeles during his film screening to get the low down on how and why a man got involved in such a project. Cast/Director of FEMME Emmanuel is no stranger to sharing powerful messages through film. He started at the tender age of 15 in France after having a vision and hearing a poem in his head during math class. He was moved to film the vision and the rest is history. Now at 46, he has 5 more documentary projects on the slate and is gearing up to hit the road again to start filming. One of the messages in the film that stuck with me (being a woman and a mother) is the fact that in ancient times, many cultures revered woman as sacred because of their ability to birth new life. As a husband and father of three (two boys and one on the way), Emmanuel says he has the utmost respect and appreciation for woman, teaching his boys to do hold the same outlook. His views on woman aren’t the societal norm but he aspires to change this through creating empowering and educating projects like FEMME: “The power of women is a given since they give life to every human being. Men have to recognize, we owe you our lives! Beyond this fact, I believe women are a strong equal partner to men, and are the necessary complementary balance men need.” Conscious Life Expo Panel When asked why he chose to create a feminist movie, he was very matter of fact: “I realized no man had ever done a feminist movie therefore I decided it should be done – et Voila! It sounds easy but obviously it was a huge endeavor on 5 continents, 20 countries and 500 interviews over 3 years…but it’s in the doing that you become. It’s by making that things exist.” The title of the film was originally going to be The Goddess but Emmanuel felt the film needed a broader reaching name, a more open name. He says, “The femme energy is in all of us. In the belly of the mother, we are both male and female for up to three months.” The cast of FEMME is a collection of 100 women from around the world ranging from Shamans to successful business women. The process finding all these women contributors started by making a list from the internet and those he knew but many came to him from referrals and leads from others. “It was a domino effect. I had to go with the flow. I had to become this very fluid, feminine humble servant. I realized, I’m not going to direct the movie, I’m going to let it direct me. There were many well known and not so well known women included in the film but in the end, it created a beautiful canvas of many voices, no one taking over anyone else.” This follows the theme of one of his main messages from the film: Equality for all. Marianne Williamson and Emmanuel Itier Emmanuel Itier makes no excuses for being a bit crazy and blunt but his messages are powerful and very much re-evolutionary in nature. My final question to him during our interview was to sum up the message he hopes to relay with FEMME. He says too many people talk about making changes but never do anything believing they can’t make a change or they’re waiting for someone else to do it. His message was simple, yet loud and clear. “Together, you and I, feminine and masculine, we are and we create life. Shut up, let’s join forces, and get to work.” I thoroughly enjoyed my time chatting with the quirky yet grounded creator/director Emmanuel Itier and I have no doubt he’ll continue to change the world one film at a time. Whether you’re a man or a woman, I strongly encourage everyone to watch this re-evolutionary new documentary, FEMME: Women Healing the World. You won’t be disappointed and I assure you, you’ll walk away with a vastly different view of what femininity truly is and how desperately the world needs it now more than ever. Conscious Life Award for Best Documentary It comes as no surprise that Emmanuel won the Conscious Life Award for Best Documentary at the Conscious Life Expo in Los Angeles at the screening of FEMME. To follow his worldly journeys and see the other great projects he has in the works, Emmanuel can be reached through his company, Wonderland Entertainment Group. (photo credit: Rick Carter) Michelle Arbeau is an internationally recognized Celebrity Numerologist, author, inspirational speaker and radio/tv host. She has a Hollywood clientele base that includes Twilight vampires, Big Bang Theoryactress, Pirates of the Caribbean actor, NBC Director, Celebrity stylist and many more. A media favorite and considered an expert in her field, Michelle is frequently a repeat guest on national outlets such as CBC Radio, CTV Morning Live, Breakfast Television and LA Talk Radio. As founder and host of Authentic You Radio/TV, Michelle has interviewed many of the top authors, speakers and celebrities in her quest to inspire and empower others to live with authenticity. Her upcoming books, The Energy of Words: Harness the Vibration of Language & Transform Your Life and Soul Numbers: Decipher the Message from Your Inner Self to Successfully Navigate Lifeare the product of combining her love of numbers with her passion for helping others to find purpose, meaning and joy in life. (Book Release Dates October & December 2013). Visit Michelle Arbeau online. Published on Feb 13, 2014

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Home | Entertainment | Celebrity Chi-Town: 15 Latino Celebrities From Chicago By Cristina Arreola • January 11, 2015 • 10:00am Halfway between Los Angeles, California and New York City, lies the lively midwest city of Chicago, Illinois. Chi-Town is home to some of the world's greatest pizza (sorry, Jon Stewart), the country's friendliest people, and the midwest's greatest comedy, theatre, music, and more. It's no surprise, then, that countless Latino stars got their start in the Windy City. From Michael Peña to Aimee Garcia, these 14 celebs call Chicago their home: Michael Peña Carmen Corral Alex Meneses Marisol Nichols Tanya Saracho Kiele Sanchez Rosa Blasi Lisa Guerrero Next Slideshow: 14 Music Artists to Watch in 2015 Michael Peña Raquel Welch Freddy Rodriguez Carmen Corral Aimee Garcia Nadine Velazquez Alex Meneses Marisol Nichols Tanya Saracho Kiele Sanchez Rosa Blasi Justina Machado Rose Abdoo Lisa Guerrero ‹ Cesar Chavez star Michael Peña was raised by Mexican immigrants on Chicago’s South Side in the North Lawndale neighborhood across from Douglas Park. Before moving to Los Angeles to pursue an acting career, he worked at Harris Bank in the Chicago Board of Trade. Actress Raquel Welch was born Jo Raquel Tejada in Chicago, Illinois. She later moved to California when her parents divorced, but her roots will always be in the Windy City. Freddy Rodriguez was born and raised in the Bucktown neighborhood of Chicago. “I went back to my old neighborhood, and I want to see familiar faces and no one lives there anymore,” he told us. “Someone said to me the other day, ‘Can you believe there’s a Marc Jacobs in Bucktown?’ I was like, that’s crazy. I remember in the ‘80s and ‘90s, I would get shot on that corner that Marc Jacobs is on.” Southland star Carmen Corral is proud of her inner-city roots. She told us, “Chicago’s known for its large immigrant communities. There were Mexican, Polish, and Puerto Rican people in the neighborhood. I love Mexican music. When you see me, you wouldn’t think I’d be pounding banda music, but I grew up with a live corrido at every party.” Aimee Garcia was born, raised and educated in Chi-Town. She was born in Chicago proper, but moved to Oak Park as a child. Later, she attended Northwestern University in the northern suburbs. “Chicago is very near and dear to my heart,” she said. “I’m a Chicago girl through and through.” Nadine Velazquez is proud of her Chicago heritage! She attended Notre Dame High School for Girls, and decided to stay in the city for college, graduating from Columbia College Chicago in 2001. Alex Meneses caught the bug for theatre in her hometown! She studied acting at Chicago’s infamous The Second City Improvisational Theater during her summer vacations. 24 actress Marisol Nichols was born in the Rogers Park neighborhood of Chicago, but raised in the suburb of Naperville, Illinois. Tanya Saracho, the writer behind Devious Maids and Looking, was born in Mexico, but later immigrated to Texas in the ‘80s. These days, the playwright and screenwriter calls Chicago her home. She told Chicago Mag about her love for the Midwestern city. “I have lived a lifetime here – a couple lifetimes here,” she said. “There’s something of my DNA here. The people here feed my soul. Walking down the street, or having an exchange at 90 Miles with another Cuban person, or somebody dancing in the restaurant while they wait for their order – even that little thing is so different than my life in L.A. I want to stay in Chicago.” The Glades star Kiele Sanchez has her roots in the Windy City. She even married a fellow Chicagoan: Friday Night Lights star Zach Gilford, who was born and raised in Evanston! Strong Medicine star Rosa Blasi cultivated her love for acting in the Windy City. She was born in Chicago, and studied theatre at the Piven Performance Company (owned by Jeremy Piven’s parents!) and at The Second City. Justina Machado was born in Chicago to Puerto Rican immigrants. There, she attended Lane Tech high school and performed with the Latino Chicago Theater Company. She later moved to New York City to pursue a career in acting. “I’m from the Northwest Side," she said. "Logan Square is where my parents live. Every time I go back, Chicago is so different. The neighborhoods are so different. There are all these new restaurants. I’m always going to a new spot.” Rose Abdoo calls Chicago her home – and that’s where she began her career. She performed at various improvisational theaters in the city, including four years with The Second City. Although Lisa Guerrero was born in Chicago, she moved to San Diego and grew up in Huntington Beach, California. Share this Tags chicago Justin Machado Rosa Abdoo Al Vincente

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Underworld's Karl Hyde talks Frankenstein, Kubrick, and the Ultra Music Festival Miami New Times staff Thursday, March 17, 2011 at 10 a.m. By Miami New Times staff Underworld, the UK-based electronic duo of Rick Smith and Karl Hyde, has been the vehicle for an audio-video conflux that rose to prominence from the post-acid house scene of the '90s, and really hit the public consciousness after the song "Born Sippy .NUXX" was used to great effect in Danny Boyle's 1996 film Trainspotting.In the 15 years since its sound first hit the cineplex, the twosome's fluid, fluorescent style has been applied to all manner of stages, including live performance, the film studio, and now the playhouse, having just scored Boyle's adaptation of Frankenstein at London's National Theatre. The group has also been touring to promote Barking, Underworld's eighth full-length album and one of its most potent musical statements.Decompressing briefly following the Frankenstein premiere, vocalist Karl Hyde took a moment to discuss the Underworld aesthetic with us.Crossfade: How do you marry your non-linear sound design tendencies to a narrative for film or theatre? Upcoming Events Karl Hyde: The director's vision enables us to focus on what is important in the play or film. Couple this with the voice of the script -- and in the case of a film, the action and duration of scenes on screen -- and a template for the soundscape begins to emerge. In truth, we always saw our music as being the scores to short films or journeys.As fans of both the moving and still image, do you establish any visual reference when composing a piece? Hang photos around the studio? Watch specific films to set the mood?I don't reference images. Asking the director for his musical references is always a good thing to do when starting a new score. Outside of this, my own points of references are the [film] scores that have inspired me in the past -- plus the music of cities [like] rush hour traffic, sounds of the street, overheard conversations. It all started at age 11 when I had one of those life-changing experiences watching Stanley Kubrick's 2001: A Space Odyssey.Did being a live band as much as a production outfit help you with the shift into live theatre?The fact that improvising has been integral to our working process since the early '90s enables us to enter into new projects with an open mind, armed with a palette of soundscapes and ideas that we can begin making marks with. Also, our methods of working make it much easier to throw out ideas and move on quickly if they don't work. There were many changes to be made during the writing [and] composing process for Frankenstein. They often needed to be made within minutes of the idea being put to us by Danny, mixed, and then put into the QLab system for inclusion in that day's run-through.How does the space in which your sounds will be broadcast, whether it's a theater or the Ultra Music Festival arena, impact your means and ends?It has an important influence on how the music needs to sound and how it should be performed. A dance set that is to be played at extreme volume to tens of thousands of people through a stereo sound system in a field has very different requirements [from] an underscore written to support live action in front of a sit-down theater audience and mixed to be played back on a surround-sound system over which actors voices must be heard.How has your improvisational lexicon changed over the years?Each season provokes a reaction in us. Sometimes it drives us to improvise less, sometimes more. Every year, there are months of re-programming to be done as the quality of new equipment improves. The notion of improvising also changes as we find different ways of approaching the concept and different areas of our live performance to express it through.How have the platforms available for expression and distribution both freed you and challenged you as they have evolved?The internet, as just one example, has given us the freedom to publish work when we desire, something we dreamed of when we first started making music and art together. Whether through our daily diary on underworldlive.com, the free downloads, releases of music, sound and artworks, or through being able to turn people on to other artists, the internet is one of the most liberating tools in our kit.Is there anything you've ever taken from an appearance in Miami that has impacted your perspective on electronic music?Good vibrations.-- Tony WareUnderworld as part of the Ultra Music Festival with a performance on Saturday, March 26. Bicentennial Park, 1075 Biscayne Blvd., Miami. Gates open at noon on Saturday. Tickets are sold out. Visit ultramusicfestival.com.Follow Crossfade on Facebook and Twitter @Crossfade_SFL. Contact: Miami New Times staff Ultra Music Festival

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