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Downton Abbey's Dan Stevens Apologizes for His TV Death Ruining Christmas Tierney Bricker Attention: Dan Stevens is not the Grinch!After Matthew Crawley's devastating death on Downton Abbey's Christmas special, which aired Christmas Day in Britain, it's safe to say the holiday was tarnished for many viewers. Yes, Merry Christmas, have the death of a fan favorite character to go with all your presents and eggnog, won't you?!In an interview with the U.K.'s Radio Times, Stevens apologized for ruining Christmas for his fellow Brits. "I really am sorry about that," he said of the timing of his exit from the hit period drama. "I think what emerged is that it's an unwritten rule that you're not supposed to die on British television on Christmas Day. That, specifically, was not my doing." VIDEO: Watch Diddy's hilarious Downton Abbey spoof now! As for how Matthew was written off the show (he died in car accident), Stevens explained, "I didn't have any say in the manner in which he went. Ultimately, it was in the hands of Julian [Fellowes] and the producers."Stevens added that he was happy Matthew and Mary (Michelle Dockery), a fan favorite couple, didn't split or have their relationship ruined by his departure from the series."It was right that he didn't run off and have an affair with somebody," he explained of Matthew's exit. "I don't think that would have been right for Matthew as a character."The fourth season of Downton Abbey is set to premiere on Jan. 5, 2014. NEWS: Downton Abbey stars in and out of costume

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Industry Guides Distribution GuideEquipment and Concessions GuideExhibition GuideBlue Sheets Technology in review: Asia embraces digital, 3D and immersive sound Nov 25, 2013 TweetFeatures 1390068-Tech_Overview_Feature_Md.jpg The Asian market, when viewed from a global perspective, continues to shine brightly with digital installations continuing at a rapid pace, while the more mature markets of North America and Europe are nearing completion. In the Asia and Pacific regions (“APAC”), the construction of new cinema complexes abounds, with most new cinemas being equipped from the onset for the latest in digital projection with no legacy 35mm equipment. In addition to the increase caused by new construction, digital conversions of existing cinemas are continuing beyond the major metropolitan markets and into the smaller towns and municipalities across Asia. At the beginning of 2013, there were approximately 23,000 digital screens installed throughout the APAC region, doubling the previous year’s totals. This year, maturing markets in Japan, Korea and parts of China are nearing completion, while India, the Philippines, Thailand, Indonesia and Malaysia continue to expand. While each individual country has its own issues affecting conversions, the growth trend in new construction across the APAC region remains good news for the industry. The progress of digital cinema in Asia is also being driven by the increasing popularity of large-screen auditoriums which feature the absolute best in comfort and incorporate the most advanced technologies in 3D and 4K projection. Many of these are also being equipped with the latest premium sound, choosing between Dolby Atmos™ or Barco’s Auro 11.1 soundtrack format, the two leading immersive sound formats. DLP Cinema™ technology-licensed manufacturers Christie, Barco and NEC are all enjoying brisk sales throughout the APAC region. Christie’s Shenzhen manufacturing plant continues to produce hundreds of digital projectors, feeding the film-to-digital conversion frenzy in theatres across Asia. As an example, Wanda Cinema, the world’s largest exhibitor, added more than 350 Christie projectors in 2013, as did Malaysia’s TGV Cinemas, which installed 364 units. Barco has around 14,500 cinema-grade projectors installed in the APAC region, with over 11,600 in China alone. NEC Display Solutions reports strong sales in the APAC region, especially in China and the Philippines. In China, working though their representatives Strong Westrex and Beijing Donview, NEC added 1,400 cinema projectors in 2013, bringing its total to over 3,600 for the country. In Korea, where the conversion is almost completed, NEC and its integrator Hyosung ITX added more than 50 cinema systems this year. The two leading digital-cinema server manufacturers, Hong Kong’s GDC Technology and U.S.-based Doremi, both reported strong continuing sales throughout Asia. GDC Technology has over 12,000 of its servers from a worldwide total of over 30,000 units installed in the Asian region, with approximately 8,500 in China, 1,100 in Korea, and 1,100 in Japan. Doremi also has an impressive installation base, reporting that of its 55,000-unit worldwide total, over 8,000 are in the Asia-Pacific region, with their strongest markets being Australia, the Philippines and Indonesia. In Thailand, SF Corporation, a leading cinema chain with over 250 screens across the country, announced plans to install a substantial number of Sony’s latest 4K digital-cinema projection systems. This makes SF the first Thai exhibitor and one of the first exhibitors in the region to install 4K projection systems from Sony. SF’s installations of 4K projection have taken place over the last two years. SF was the first in Thailand to install a digital projection system in 2003, and continued to lead using 4K and 3D projection capabilities. The addition of the new Sony 4K projectors will bring the cumulative number of 4K systems already installed in SF’s theatres to over 220 units. This spring, Technicolor announced that its facility in Bangkok had formed an alliance with GDC Technology to streamline the DCP distribution process across Asia. This alliance means Technicolor and GDC can offer their clients a single point of contact for replication, distribution and KDM support, initially focusing on Hong Kong, Japan and Singapore. Technicolor delivers its customers’ content to screens worldwide by leveraging a hybrid distribution platform comprised of physical and electronic distribution mediums, including key management to ensure the security and reliable delivery of content to movie theatres, while GDC maintains well-established relationships with all major distributors and exhibitors in Asia including China, Japan, Korea, Singapore, Taiwan and Hong Kong. In Southeast Asia, NEC, working with Thailand's Goldenduck group, added over 300 projectors to cinemas in Thailand, Philippines, Vietnam and Malaysia for customers such as Ayala Cinema, Gaisano Cinema, Megaworld Cinema, Araneta Cinema and Greenhills Cinema. In India, Chennai’s Real Image Media Technologies entered into a distribution partnership with Barco with 700 units that are scheduled for installation during 2013. Real Image is a pioneer in digital-cinema technology globally, with its Qube line of products. Over the next three years, up to 3,000 DCI-compliant Barco projectors installed with Qube media blocks are planned for India’s theatres. Also in India, NEC in conjunction with RIMT installed approximately 150 of its small-chip NC900 projectors. Even the developing country of Myanmar, which has approximately 65 cinemas, is upgrading to digital. So far, digital projection and sound have been installed in 17 cinemas. Myanmar Motion Picture Enterprises (MMPE), the governmental organization that oversees the industry, is planning to digitize every cinema, including both state-owned and private halls. Most of the unconverted cinemas in Myanmar have submitted proposals for the upgrade, with MMPE helping exhibitors secure the financing. MMPE also plans to offer various incentives to local production companies to encourage digital productions. In Australia, Cinedigm, a U.S.-based digital services provider, and the Independent Cinemas Association of Australia (ICAA) announced a comprehensive VPF program to assist independent cinemas in the region. ICAA has members across Australia representing nearly 540 screens across 143 cinema locations. When combined with the neighboring New Zealand Motion Picture Association, it represents more than 650 member screens. ICAA Services Pty Ltd. is a subsidiary to jointly manage the VPF program along with a full Network Operations Center (NOC) to monitor system performance. The NOC was established on a nonprofit basis by ICAA Services to integrate with software systems to provide the monitoring and reporting requirements of the VPF program. The ICAA NOC, which is also available to other non-member exhibitors in the Australia/New Zealand region, has over 220 screens connected. This past July, Christie co-announced with Australian exhibitor Reading International a long-term VPF deployment agreement that will eventually upgrade all of Reading’s screens in the region. By the end of 2013, Reading will have around 200 screens at 28 locations converted to digital through this program. Finally, NEC Australia added more than 100 projectors with independent exhibitors in Australia and New Zealand.3D3D continues to be a draw for Chinese and other Asian exhibitors, and its incorporation into projection systems is now considered to be essential in competitive markets. In China, the largest 3D provider, RealD, has approximately 1,300 installations. China exhibitor Zhejiang Xingguang, which currently owns 32 cinemas comprising 203 screens, recently added 50 additional 3D systems. In August, UME International Cineplex, which expects to be operating 22 cinemas with 253 screens by year’s end, agreed to add an additional 50 3D systems to their Northern China locations, bringing their total to 100 3D systems. Also, in October, MasterImage 3D and China Film Equipment Co., Ltd. announced a distribution agreement bringing 3D cinema systems to over 30 provinces throughout China. Large-screen CinemasLarge-screen branded digital auditoriums, those using top-tier 2K and 4K dual-projectors with premium sound, are spreading across Asia at a dramatic rate. According to recent reports, there were fewer than ten such auditoriums in China in 2007 and well over 100 currently. In the competitive markets, exhibitors with the resources and space are turning to the globally recognized IMAX format while others are choosing to differentiate themselves by creating their own brands for their large-screen experience. With these new premium branded auditoriums, the audience enjoys an immersive cinematic experience with unmatched brightness, sharpness and superior 3D images. Christie has made it easier for exhibitors to enter into the large-screen market by offering its Duo™ integration kit, which uses two of its high-brightness 4K projectors along with the necessary optics to illuminate screens as wide as 32 meters. Exhibitors such as Shimao, Shanghai Film Group and Wanda have installed the system into their self-branded large-screen theatres such as Wanda X-land. Dongfang Giant Screen also opted for the Christie Duo solution. In Taiwan, Christie’s integrator, Dacoms Technology, installed its system with Lux Theaters, creating a 4K configuration that projects 68,000 lumens on the screen. In Australia, Christie, working with its local partner Edge Digital Technology, installed a dual-projector Duo system at Hoyts’ Blacktown Cinema 5 to light up Australia’s largest traditional screen. IMAX continues to add to its Asian installation numbers. IMAX and Wanda, Asia's largest exhibitor, announced the addition of a minimum of 40 and up to 120 new large-screen theatres to be located throughout China. In 2012, Wanda Group acquired U.S.-based AMC Theatres, creating the world's largest cinema owner as well as the largest operator of IMAX theatres. IMAX also announced major commitments from CJ CGV Holdings for the addition of 30 theatres to be installed in new construction projects across China as well as five previously optional theatres in Korea. This agreement brings CGV's commitment to 95 theatres, with 20 in South Korea and 75 in China. IMAX and Indonesia's largest exhibitor, Cinema 21, agreed to install eight additional screens, bringing their total to 10 screens. The company also intends to introduce its next-generation laser digital projection system to Asian exhibitors by the end of 2015.Immersive Sound One of the recent trends sweeping across Asian cinemas is the incorporation of new immersive sound systems to complement the large-screen auditoriums. Immersive sound refers to audio systems that utilize additional channels, typically more than the standard 5.1 or 7.1 configurations, to deliver a more realistic and therefore a more emotional experience. As with any new soundtrack format, the movie titles themselves need to be mixed specifically for that format, and post-production facilities need to be trained and equipped before they can create the sound mixes. Therefore, representatives from both Dolby and Barco have been busy not only equipping the theatres but also building the upstream pipeline to deliver a steady flow of titles with immersive sound to the cinemas. According to Dolby, from its approximately 300 Atmos systems installed worldwide, 63 cinemas in the APAC region have been equipped, with at least 32 in China with Wanda, Lumière and others, eight in India with SPI Cinemas, and seven in Korea with Megabox. Dolby currently has 13 Asian post facilities equipped to mix in Atmos and so far 28 titles with Atmos mixes have originated in Asia. This October, FutureWorks Media Studio, a facility in Mumbai featuring a Meyer Sound cinema loudspeaker system, became India’s post first facility to be awarded with Dolby’s premier studio certification. Also in India, Dolby has struck an arrangement with Real Image Media Technology to purchase a minimum of 50 Atmos systems, along with an additional 200 Atmos-ready CP850 processors. Also, SPI Cinemas is installing 37 Atmos screens around Chennai and Coimbatore. Other Indian exhibitors installing Atmos are PVR Cinemas, Inox Movies, Prasads and Mayajaal. When this initial wave is completed, Dolby expects to have over 100 Atmos systems in India alone. In the Philippines, Atmos has been installed in three screens at the Greenhills Promenade in San Juan City. The installation used JBL loudspeakers and Crown amplifiers and was overseen by the Goldenduck Group, Dolby’s Southeast Asian equipment and services supplier. And Reading Entertainment became the first in Australia with Atmos installed at its Waurn Ponds, Geelong Titan XC Extreme Cinema. Barco Auro 11.1 installations also continue to grow at a substantial pace. Of the 100 worldwide installations, Barco reports approximately 50 installed in the APAC region. At the beginning of 2013, Sathyam Cinemas' Six Degrees, part of SPI Cinemas, became the first in India with an Auro 11.1 system. In July, Bangalore’s renowned Manasa Theatre installed an Auro 11.1 system in its UltraScreen branded auditorium. Working with integrator GM Audio, the Dhanya Theatre in the town of Kollam became the first to install Auro 11.1 in India’s Kerala region. In June, India’s famous AM Studios equipped with Barco Auro 11.1 to enhance its 3D sound recording capabilities. Barco has also equipped mixing facilities with Auro 11.1 equipment in Japan, Hong Kong and Korea, with more coming throughout the APAC region by year’s end. So far, over 30 feature films have been mixed and released worldwide in Auro 11.1 and 10 Asian-produced titles are in the pipeline to be released over the next 12 months.

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Mark Wahlberg and Peter Berg Reuniting for 'American Desperado' by Ethan Anderton June 28, 2013 After teaming up for the Universal Pictures war drama Lone Survivor, director Peter Berg and actor Mark Wahlberg are looking to collaborate again, this time on a crime thriller called American Desperado. Deadline reports the script comes from William Monahan (The Departed) and is based on Jon Roberts (the focus of Cocaine Cowboy) and Evan Wright's non-fiction book of the same name. The book comes from a series of conversations taking place over three years, chronicling Roberts' time as a gangster in New York City, working for the CIA and also smuggling drugs and cash for the infamous Medellín drug cartel. Whoa! Here's the official description of the book: American Desperado is Roberts’ no-holds-barred account of being born into Mafia royalty, witnessing his first murder at the age of seven, becoming a hunter-assassin in Vietnam, returning to New York to become -- at age 22 -- one of the city’s leading nightclub impresarios, then journeying to Miami where in a few short years he would rise to become the Medellin Cartel’s most effective smuggler. But that’s just half the tale. The roster of Roberts’ friends and acquaintances reads like a Who’s Who of the latter half of the 20th century and includes everyone from Jimi Hendrix, Richard Pryor, and O.J. Simpson to Carlo Gambino, Meyer Lansky, and Manuel Noriega. Nothing if not colorful, Roberts surrounded himself with beautiful women, drove his souped-up street car at a top speed of 180 miles per hour, shared his bed with a 200-pound cougar, and employed a 6”6” professional wrestler called “The Thing” as his bodyguard. Ultimately, Roberts became so powerful that he attracted the attention of the Republican Party’s leadership, was wooed by them, and even was co-opted by the CIA for which he carried out its secret agenda. Scrupulously documented and relentlessly propulsive, this collaboration between a bloodhound journalist and one of the most audacious criminals ever is like no other crime book you’ve ever read. Jon Roberts may be the only criminal who changed the course of American history. Yeah, that sounds like a tale destined for the big screen, and it even has some flares that are reminiscent of the themes in The Departed, so it's perfect for Monahan to tackle. Wright is no stranger to seeing his work turned into entertainment since his book Generation Kill became a stellar HBO miniseries. With all the material in this book, the story might be better suited for that kind of adaptation, but that could always come after the film brings more attention to Roberts and his exploits. Wahlberg definitely has the chops to pull this off as a tough guy, and it's actually a little amusing that he would play this character considering how his series "Entourage" used Pablo Escobar and the Medellín cartel for a fictional film adaptation. Find more posts in Casting, Development, Movie News Reader Feedback - 0 Comments Sorry, no commenting is allowed at this time.

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GoodDrama for your Android devices - free download Shows List Index Popular Starting with: J Jackal Is Coming (Movie) Clumsy and off-the-wall hit man Bong Min-jung (Song Ji-hyo) is hired to kill top Hallyu star Choi Hyun (Kim Jaejoong). She ambushes him at Paradise Hotel in Seong-ju where the… [More] Renowned across the land as the best gambler in Korea, Dae Gil entices King Yeongji into participating in a match that could tear apart the entire Joseon empire. Will King… [More] Jade Palace Lock Heart Luo Qing Chuan is a modern-day girl who accidentally travels back in time to Emperor Kang Xi's era of the Qing dynasty. She gets embroiled into the princes' struggle for… [More] Jang Bori is Here! A story about the life of a mother and two daughters; a real daughter and an adopted daughter whose fates are twisted and lives change due to the real daughter… [More] Jang Ok Jung, Live in Love This drama tells the story of Jang Ok Jung, known as Lady Jang Hee Bin, one of Korea’s best known royal concubines of the Joseon Dynasty and became known for… [More] 9.55/10 (1072 Votes) Jang Young Shil Drama series follows the life Jang Yeong-Sil: a scientist, technician and inventor during the Joseon period. Jang Yeong-Sil was born in the lower class nobi. King Sejong notices his abilities… [More] The drama depicts romance as well as intense competitive rivalry between an anchor and a weather forecaster working together for a television news show. [More] Ongoing Released: Jejoongwon Jejoongwon is the first modern hospital in Korea established in the Joseon era in 1885. Baek Do Yang is a nobleman who gives up his status to enter its ranks.… [More] Jeon U Chi (Cha Tae Hyeon) helps people using Taoist magic. He got his powers by swallowing a bead from a fox with nine tails. Jeon U Chi loves Princess… [More] Jeong Do Jeon The late 14th c, Goryeo. Abuse of power and corruption made people to leave the government offices and only the corrupted people are left in the high offices. When there… [More] Jessica & Krystal Jessica & Krystal will take viewers behind the scenes to Jung Soo Yeon and Jung Soo Jung's stylish life as sisters and friends. [More] Jigoku Sensei Nube Meisuke Nueno (Ryuhei Maruyama) is the homeroom teacher of a 2nd grade 3 class in high school. He is referred to as Nube. He sometimes carries himself as an idiot,… [More] Jikou Keisatsu Kiriyama Shuichiro works as an information management officer in the prefectural police station. As he is very observant and has interest in the unresolved cases which have gone past the… [More] Jikou Keisatsu 2 One year has past, Kiriyama works at the same police station and he is still interested in unsolved cases which belong to the statute of limitations. Together with his asistance… [More] The story follows a brain surgeon named, Minakata Jin, who has spent the last two years in anguish, as his fiancee lies in a vegetative state after an operation he… [More] JIN 2 It has been two years since Minakata Jin went back in time to the closing days of the Tokugawa shogunate. One day, Sakamoto Ryoma arrives from Kyoto to seek Jin’s… [More] Jing Bi Rok Based on the memoir "Jibirok," written in 1604 by scholar Ryu Seong-Ryong. The memoir covers Ryu Seong-Ryong's experiences from 1592-1598 during the Japanese invasion of Joseon era South Korea, the… [More] Jiu The show is based on the “Jiu” suspense novel series by Honda Tetsuya. Motoko (Kuroki) is a fierce, physically capable investigator with a strong battle instinct, while Misaki (Tabe) is… [More] Jodan ja nai! Japanese Drama A forty-year-old man has married a pretty woman 20 years younger than he is. However, with their marriage as a turning point, his fate dramatically changes. The mother of his… [More] JOKER Yurusarezaru Sosakan Date Kazuyoshi (Sakai) is a detective on the Kanagawa prefectural police force. During the day, he is known as a "Buddha" for his gentle personality, pouring all of his energy… [More] In the time of enlightenment, a battle between a sword and a gun has started. Based in the time of enlightenment of 17th-century Joseon, This drama tells the story of… [More] Joshi Deka A sharpshooting rookie and a veteran with a brilliant track record are paired to solve a number of different cases. The two incompatible women clash about everything, and we see… [More] Adapted from the famous Chinese classic novel of the same title by Wu Cheng'en, a writer in the Ming Dynasty (1368-1644), "Journey to the West" in the TV version is… [More] Journey to the West (1996) HongK Drama Journey to the West is a Hong Kong television series adapted from the classical novel of the same title. Starring Dicky Cheung, Kwong Wah, Wayne Lai and Evergreen Mak, the… [More] Journey to the West is a classic Chinese mythological novel. It was written during the Ming Dynasty based on traditional folktales. Consisting of 100 chapters, this fantasy relates the adventures… [More]

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This Day in HIstory: May 05 Spider-Man is first movie to top $100 million in opening weekend Spider-Man is first movie to top $100 million in opening weekend Author http://www.history.com/this-day-in-history/spider-man-is-first-movie-to-top-100-million-in-opening-weekend Directed by Sam Raimi and starring Tobey Maguire in the title role, the eagerly awaited comic book adaptation Spider-Man was released on Friday, May 3, 2002, and quickly became the fastest movie ever to earn more than $100 million at the box office, raking in a staggering $114.8 million by Sunday, May 5. After a genetically altered spider bites the teenager Peter Parker (Tobey Maguire) during his class field trip to a university laboratory, he discovers that the bite has given him supernatural powers. Though his principal goal is pursuing his longtime crush, Mary Jane Watson (Kirsten Dunst), Parker soon transforms himself into Spider-Man in order to combat evil, in the form of the Green Goblin, the villainous result of an experiment that the scientist Norman Osborn (Willem Dafoe) has performed on himself. By the time the film was released, four decades had passed since Stan Lee and Steve Ditko created Spider-Man for Marvel in 1962. The comic’s enduring popularity, as well as a massive marketing campaign by Columbia Pictures and Marvel, seemed to predict commercial success for Spider-Man, which opened in more than 3,600 theaters nationwide. In addition, super-hero movies traditionally faired well at the box office, as evidenced by the hit Superman and Batman films. Reviewers also praised Raimi’s film for its smart script and generally good acting, as well as its high-tech special effects. The combination of all these factors helped explain Spider-Man’s record opening-day haul of $39.4 million. The previous mark was $32.3 million, set by Harry Potter and the Sorcerer’s Stone in 2001. Harry Potter and the Sorcerer’s Stone had taken five days to pass the $100 million mark, as had 1999’s Stars Wars: Episode 1 – The Phantom Menace. Spider-Man would go on to earn some $403.7 million domestically, more than any other comic book movie to that date. Both Spider-Man sequels, in 2004 and 2007, would break their predecessor’s opening day record, earning $40.4 million and $59 million, respectively. Spider-Man 3, shown on more than 10,000 screens at 4,252 locations, boasted an opening weekend haul of $151.1 million. That record would stand until July 2008, when The Dark Knight, the fifth film in the Batman franchise, grossed $155 million in its first weekend. Only 19 days after its release, The Dark Knight had taken in $405.7 million in the United States alone, passing the first Spider-Man to become the most successful comic book movie of all time. Star Wars Signed Script Star Wars Toys Take Over Star Wars Vault: R2D2 Cooler Star Wars Prototype Yoda Sculptures Celebrities in Politics › More on This Topic news 8 Things You May Not Know About Superman Florence Lawrence: The First Movie Star From Child Star to Diplomat: Remembering Shirley Temple Black The Lumière Brothers, Pioneers of Cinema 9 Things You May Not Know About Alfred Hitchcock 8 Classic Films That Ran Afoul of Hollywood Censors When New Jersey Was Film Capital of the World At the Oscars, History Wins Big 90 Years Later: 8 Things You May Not Know About the Hollywood Sign The Renegade Roots of Hollywood Studios Solomon Northup After His “12 Years a Slave” 1961 The first American in space From Cape Canaveral, Florida, Navy Commander Alan Bartlett Shepard Jr. is launched into space aboard the Freedom 7 space capsule, becoming the first American astronaut to travel into space. The suborbital flight, which lasted 15 minutes and reached a height of 116 miles into the atmosphere, was a major triumph... 1776 Clinton excludes Howe and Harnett from amnesty offer In North Carolina, British Lieutenant General Henry Clinton issues a proclamation denouncing the Patriots’ “wicked rebellion” and recommending that the inhabitants of North Carolina return their allegiance to the king. He offered full pardon to all persons, except Continental Army Brigadier General Robert Howe and North Carolina Patriot Cornelius Harnett. Howe... 1944 Driving pioneer Bertha Benz dies Bertha Benz, the wife of inventor Karl Benz and the first person to drive an automobile over a long distance, dies on this day in 1944, in Ladenburg, Germany. Born Bertha Ringer, she married Karl Benz around 1870. Karl Benz received a patent for his horseless carriage, called the Motorwagen,... 1864 Grant and Lee clash in the Wilderness forest The forces of Union General Ulysses S. Grant and Confederate General Robert E. Lee clash in the Wilderness forest in Virginia, beginning an epic campaign. Lee had hoped to meet the Federals, who plunged into the tangled Wilderness west of Chancellorsville, Virginia, the day before, in the dense woods in... 1955 Allies end occupation of West Germany The Federal Republic of Germany (West Germany) becomes a sovereign state when the United States, France, and Great Britain end their military occupation, which had begun in 1945. With this action, West Germany was given the right to rearm and become a full-fledged member of the western alliance against the... 2004 Human remains found in suitcase near Virginia Beach On May 5, 2004, a suitcase holding what is later identified as the partial remains of William McGuire, a 39-year-old Navy veteran and computer analyst is pulled from the water near Virginia Beach. A second suitcase of body parts was found nearby on May 11, and a third washed up... 1995 Hail storm surprises Dallas residents The Dallas, Texas, area is hit by torrential rains and a severe hailstorm that leaves 17 dead and many others seriously wounded on this day in 1995. The storm, which hit both Dallas and Tarrant counties, was the worst recorded hail storm to hit the United States in the... 1821 Napoleon dies in exile Napoleon Bonaparte, the former French ruler who once ruled an empire that stretched across Europe, dies as a British prisoner on the remote island of Saint Helena in the southern Atlantic Ocean.The Corsica-born Napoleon, one of the greatest military strategists in history, rapidly rose in the ranks of the French... 1862 Cinco de Mayo During the French-Mexican War, a poorly supplied and outnumbered Mexican army under General Ignacio Zaragoza defeats a French army attempting to capture Puebla de Los Angeles, a small town in east-central Mexico. Victory at the Battle of Puebla represented a great moral victory for the Mexican government, symbolizing the country’s... 1945 Six killed in Oregon by Japanese bomb In Lakeview, Oregon, Mrs. Elsie Mitchell and five neighborhood children are killed while attempting to drag a Japanese balloon out the woods. Unbeknownst to Mitchell and the children, the balloon was armed, and it exploded soon after they began tampering with it. They were the first and only known... 1981 IRA militant Bobby Sands dies On May 5, 1981, imprisoned Irish-Catholic militant Bobby Sands dies after refusing food for 66 days in protest of his treatment as a criminal rather than a political prisoner by British authorities. His death immediately touched off widespread rioting in Belfast, as young Irish-Catholic militants clashed with police and British... 1816 The Examiner publishes John Keats’ first poem The first published poem by 20-year-old John Keats appears in The Examiner on this day in 1816. Unlike many writers of his day, Keats came from a lower-middle-class background. His father worked at a stable in London and eventually married the owner’s daughter. John was the first of the couple’s five... 1979 Peaches and Herb top the pop charts with “Reunited” To paraphrase Shakespeare, that which we call a peach by any other name would taste as sweet. But would it sound as catchy? This was the question that faced Herbert Feemster as he contemplated his future in the music business in the mid-1970s. The answer he came up with led... 1877 Sitting Bull leads his people into Canada Nearly a year after the Battle of the Little Big Horn, Sitting Bull and a band of followers cross into Canada hoping to find safe haven from the U.S. Army. On June 25, 1876, Sitting Bull’s warriors had joined with other Indians in the Battle of the Little Big Horn in... 1985 Reagan visits concentration camp and war cemetery On this day in 1985, President Ronald Reagan angers Jewish leaders and Holocaust survivors by visiting the Bitburg war cemetery in Germany. Then-German Chancellor Helmut Kohl, who suggested the visit, accompanied Reagan to the cemetery, where 2,000 German troops are buried. Reagan laid a wreath at the base of a... 1904 Cy Young throws perfect game On May 5, 1904, Boston Red Sox pitcher Cy Young throws a perfect game against the Detroit Tigers, who had fellow future Hall of Fame pitcher Rube Waddell on the mound. This was the first perfect game of the modern era; the last had been thrown by John Montgomery Ward... 1970 U.S. forces capture Snoul, Cambodia In Cambodia, a U.S. force captures Snoul, 20 miles from the tip of the “Fishhook” area (across the border from South Vietnam, 70 miles from Saigon). A squadron of nearly 100 tanks from the 11th Armored Cavalry Regiment and jet planes virtually leveled the village that had been held... 1972 North Vietnamese turn back South Vietnamese relief column South Vietnamese troops from the 21st Division, trying to reach beleaguered An Loc in Binh Long Province via Highway 13, are again pushed back by the communists, who had overrun a supporting South Vietnamese firebase. The South Vietnamese division had been trying to break through to An Loc since mid-April,... 1919 Italian delegates return to Paris peace conference On May 5, 1919, the delegation from Italy—led by Prime Minister Vittorio Orlando and Foreign Minister Sidney Sonnino—returns to the Versailles Peace Conference in Paris, France, after leaving abruptly 11 days earlier during contentious negotiations over the territory Italy would receive after the First World War. Italy’s entrance into World War... 1941 Ethiopian Emperor Haile Selassie returns to his capital On this day in 1941, Emperor Haile Selassie re-enters Addis Ababa, the Ethiopian capital, exactly five years to the day of when it was occupied by Italy. Benito Mussolini had been eyeing Ethiopia (also known as Abyssinia) as an economic colony to be added to Italian Somaliland, in East Africa, since... 2002 Spider-Man is first movie to top $100 million in opening weekend

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Arts and Entertainment > Entertainment Biographies > ARowan Atkinsoncomedian, actorBorn: 1/6/1955Birthplace: Newcastle-Upon-Tyne, England Trained in electrical engineering at Oxford, he is known instead for his physical humor and verbal vitriol in British television comedies. His first role came in the sketch series Not the Nine O'Clock News (1980), which he parlayed into a starring role in the series of television appearances spoofing British history by following a single character, The Black Adder, and his descendants through time. The Black Adder became a cult hit in the States through PBS and A&E, but Atkinson failed to gain a foothold in the American comedy scene until the release of Bean (1997) featuring a character he had created in another British sitcom, Mr. Bean (1989). He is also remembered by American audiences for his role as the befuddled Father Gerald in Four Weddings and a Funeral (1994).Chet AtkinsAPaul Attanasio

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You'd think it would be difficult - if not impossible - to keep fans happy when they know their hero is about to die. But the folks behind Spartacus: War of the Damned don't seem too worried. In fact, as the Starz series prepares to launch its final season on Jan. 25, creator Steven S. DeKnight reminds us that Spartacus' death at the hands of his Roman oppressors is "not unlike the story of the Titanic. It's no big secret the boat will sink. It's how you get there that keeps the audience invested."In War of the Damned, the former gladiator (Liam McIntyre) leads a massive, growing army of rebel slaves. That soon pits him against the up-and-coming Julius Caesar (Todd Lasance) and Rome's hotshot military commander Marcus Crassus (Simon Merrells). The latter ultimately defeated Spartacus, who - depending on which history you read - either perished in battle or was captured and crucified. Whichever way, "we will leave our fans with quite a gut punch," promises DeKnight. "But the final episode is also rousing and inspiring and really beautiful. I was moved to tears in the editing room - and I wrote the damn thing!"Subscribe to TV Guide Magazine now! View original Sneak Peek: Spartacus Prepares for the End With War of the Damned at TVGuide.comOther Links From TVGuide.com Simon MerrellsSpartacusSteven S. DeKnightLiam McIntyre

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home shows location contact faqs promotions bigDeuce comedians Gift Cards JJO Sonic Boom Show Oct 17 - 19 Headliner: Theo Von Theo Von is the host of ‘Deal With It’ on TBS on Wednesday nights 10:30/9:30cst as well as the host of Yahoo!’s popular daily recap show, Primetime in No Time, which averages over one million views a day. You may also know him from his Half Hour Special on Comedy Central, or as the genius behind CrankTexts.com, a website where he texts random numbers and gets into conversations with total strangers. Theo has also been the host of The Comedy Sideshow podcast – consistently one of the 10 most downloaded video podcasts on iTunes. He is a Louisiana native whom you may recognize as the winner of Comedy Central’s Reality Bites Back, from NBC’s Last Comic Standing S4, and Comedy Central’s Live at Gotham. Theo’s work as a stand-up comedian has garnered him numerous accolades including performing internationally at the South African Comedy Festival and Montreal Just for Laughs, as well as in the states at Chicago JFL Festival and South Beach Comedy Festival. He attended 7 colleges/universities as a full time student, including Semester at Sea–a program he actively fundraises for. He currently headlines comedy clubs in Los Angeles weekly and around the country on weekends. Feature: Brian Moote Brian Moote is a super funny comedian based out of Hollywood, CA. He was recently featured on MTV's "Money From Strangers" and was featured as a stand up comedian on the USA Network's "Characters Welcome." In 2011, he was part of the prestigious Johnny Carson Comedy Festival and is a regular at all of the major clubs in Hollywood. He also has a master's degree in social work so he is a really good person despite what you might infer from his comedy.Host: Jackson Jones Not only is he currently the host of the morning show "Jackson and Ashley" on Q106, Jackson Jones is a hillbilly with a heart of gold. His fast paced comedy is taken from life experiences of dating strippers, being a father, and looking like a meth cook. Originally from Indianapolis but now a madisonian, Jacksons charming souther accent and quick style of speaking reminds one of a deep voiced "Boomhauer". His constant and uncontrollable narcissism and never ending desire for attention keeps him coming to the stage along with the fact that he doesn't know how to do anything else. People who have seen Jackson Jones perform have been quoted as saying "I'm thirsty". "I like his hat". "Tacos are a good idea". And "He's twice as funny as he is attractive". The Half HourGet More: Comedy Central,Funny Videos,Funny TV Shows Share Buy Tickets*all prices are subject to change. 2 beverage min. per person in showroom. All shows are 18+ T&C's and Privacy Policies

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Garth Brooks focused on live show November 27, 2013 10:06 p.m. LOS ANGELES (AP) — Garth Brooks isn't ready to talk specifics about his looming comeback, but there should be more than enough music this week to sate the country superstar's fans for a while. Brooks is set to release a new eight-disc box set Thursday, then will broadcast his Las Vegas show live on CBS on Friday night. Both are an examination of the Oklahoma singer's musical roots with covers of songs that have influenced him. Brooks was in Los Angeles on Tuesday to talk about both projects, and admitted he was worried about giving fans a little too much Garth. The 51-year-old said he and wife Trisha Yearwood and his children will push Thanksgiving to Saturday "which means I might have an ice cube (on Thursday)," he said, chuckling. "Dude, when you're 260 (pounds) you're always watching your weight and, for some reason, you think you're going to make a difference the day before by not eating." The two-hour "Garth Brooks, Live from Las Vegas" will emulate the mostly solo show Brooks played during a three-year run at the Wynn Las Vegas. The new box set will reflect that show. Titled "Blame It All On My Roots," the box contains four new studio albums featuring Brooks' cover versions of recordings that shaped him as an artist — revealing an array of influences including George Jones, Gladys Knight and the Pips and Bob Seger. The box also includes a rerelease of the 2007 two-disc compilation "The Ultimate Hits" with a bonus track called "Leave a Light On" and a DVD with a two-hour presentation of the one-man concert. The eighth disc includes Brooks' music videos. It's priced at just $24.96, and can only be bought at Wal-Mart, its sister retailer Sam's Club and walmart.com. Brooks says his feelings about iTunes haven't changed, so he won't make the set available as a download or stream. "So, until they change or I change," Brooks said, "or some other company comes and gives them some competition, then I don't think you're ever going to see us on iTunes." Brooks said he isn't ready to talk the future beyond Friday yet. The youngest of the three daughters of the superstar and his ex-wife, songwriter Sandy Mahl, is set to graduate high school next spring and then get ready for college. Brooks mostly retired in 2001 near the height of his popularity to be with his daughters. "It says that Sandy, Trisha and myself did what we promised each other we would do," Brooks said, by putting the children first. Soon it will be their turn, but Brooks spoke in generalities about what he and Yearwood will be doing with their free time. "Me and Miss Yearwood are free to do whatever it is we want to do," Brooks said. "And I've got to tell you: Anything I do with that woman, I'm fine with. Any place that I am with that woman is home to me. But if I have my wishes, it's going to be filled with music, and it's going to be filled with music at a level I've never seen before."

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Usher - Rhythm City Volume One: Caught Up [DVD Boxset] CONFESSIONS saw Usher widening his fanbase and consolidating his position as one of the best R&B acts to ever pick up a microphone and lay down some super-slick sounds. This visual companion to the album features an extended version of "Caught Up," which takes the original promo clip for the song and stretches it out to a 30 minute mini-movie. After viewers have marveled at the sights on offer, they get a chance to go behind-the-scenes with Usher and crew, as they show how it was all done in an impressive making of-style featurette. Finally, the package is completed with music videos for "Confessions Part II," "My Boo," "Yeah!," "Burn," and the original version of "Caught Up."Read More... Starring: Joy Bryant

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Kylie Minogue 'Into The Blue' leaked Noise11 Share with: The new Kylie Minogue song ‘Into The Blue’ has been leaked onto YouTube ahead of its official release.‘Into The Blue’ is the first taste of Kylie’s next album and her first record under the management of Jay-Z’s Roc Nation.‘Into The Blue’ was written by Kelly Sheehan. Sheenan also wrote ‘Grown Woman’ for Beyonce and ‘How We Do (Party)’ for Rita Ora.The song was produced by Greg Kurstin, Pharrell Williams, MNEK and Ariel Rechtshaid. Rechtshaid produced Haim’s ‘Days Are Gone’.In a posting Kylie said ‘Into The Blue’ is really special to me as it encapsulates a lot of what I’ve been feeling – I can’t wait for it to be out there.Kylie Minogue – Into The BlueMore from Noise11.com LATEST NEWS

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Home A & E Film Reel Picks: More on movies playing this week on Martha’s Vineyard Reel Picks: More on movies playing this week on Martha’s Vineyard By Tony Omer - Apr 3, 2013 21 & Over (R) Trying hard to be another “Hangover,” this film is unabashedly profane. A promising medical student celebrates his 21st birthday the night before a big exam with his best friends. Starring Miles Teller, Justin Chon, and Jonathan Keltz. The Croods (PG) An animated adventure comedy about one of the last surviving pre-historic families that embark on a road trip looking for a new cave as the earth is going through dramatic changes. It is a road trip to an uncharted and fantastic world. Starring the voices of Nicolas Cage, Ryan Reynolds, and Emma Stone. G.I. Joe: Retaliation (PG-13) In this action, adventure, fantasy sequel, the G.I. Joes must deal with threats from within the government that jeopardize their existence while they are fighting their mortal enemy Cobra. Starring Channing Tatum, Dwayne Johnson, and Ray Park. The Host (PG-13) This is the next epic love story from the creator of the “Twilight Saga,” author Stephenie Meyer. An unseen enemy threatens mankind by taking over their bodies and erasing their memories, Melanie Stryder (Saoirse Ronan) will risk everything to protect the people she cares most about. Starring Saoirse Ronan, Max Irons, and Jake Abel. Olympus Has Fallen (R) A former Secret Service agent sneaks inside the White House to save the President during a terrorist attack by North Koreans in this suspenseful action film. Morgan Freeman’s character, House Speaker Turnbull, assumes the pressures of acting president. Also starring Gerard Butler and Aaron Eckhart. Oz the Great and Powerful (PG) Imagines the origins of L. Frank Baum’s wizard, a fantastic combination of computer-generated imagery and real actors. Starring James Franco, Michelle Williams, and Rachel Weisz. tweet Previous articleMartha’s Vineyard District Court reportNext article1920s party for Montessori, 25th annual ice skating show, and RISE showcase Tony Omer Quick LinksMovies

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Comedian's Career Is Central To 'Quality Balls' Legendary comedian David Steinberg is the subject of a new Showtime documentary called Quality Balls. NPR's Scott Simon speaks with Steinberg, whose controversial routine was responsible for the cancellation of the Smothers Brothers' TV show in the 1960s. SCOTT SIMON, HOST: So a Rabbinical student, a Canadian and a comic walk into Chicago's "Second City." They turn out to be the same person, David Steinberg. (SOUNDBITE OF ARCHIVED SECOND CITY ACT) MARTIN SHORT: So this evening we're very, very glad to have with us the first Eskimo folk singer, Mr. Nanook Smith. DAVID STEINBERG: No, I'm the second. My brother was the first and was swallowed by a big huge polar bear. SHORT: Oh, that's too bad. I'm sorry to hear that. STEINBERG: It's all right. He got out the first Eskimo folk song before he left. (Singing) Look out for that polar bear. He's gonna get me. Ahhhh. SIMON: David Steinberg hit the North American comedy scene in the 1960s as something different - sharp, smart, sly, maybe a little shy and shaggy, like the Beatles. He cut a path for the likes of John Candy, Joe Flaherty, Andre Martin and Martin Short at Second City and beyond. He sat on Johnny Carson's "Tonight Show" couch 140 times. He recorded four comedy albums, got Grammy nominations, got the Smothers Brothers censored and then seemingly hit the height of his popularity David Steinberg walked away from standup - if I might put it that way - and became a noted television director, putting his imprint on "Newhart," "Seinfeld," "Mad About You" and most recently "Curb Your Enthusiasm." David Steinberg is the subject of a new documentary that airs on Showtime on February 3rd: "Quality Balls: The David Steinberg Story." And David Steinberg joins us from New York. Thanks so much for being with us. STEINBERG: My pleasure, Scott. SIMON: Now, your given name was Duddy, as in Duddy Kravitz? STEINBERG: Exactly. I was born before Duddy Kravitz became a glint in Mordecai Richler's eye. But my friends still know me as Duddy from Winnipeg. SIMON: Well, I heard the story that somebody asked you once to change your name from David Steinberg? STEINBERG: Yeah. I was asked to change my name 'cause Steinberg was too Jewish. The people asking me were the William Morris agent Lass Fogel(ph), Cal Sheim(ph) and Greenberg. SIMON: Well, they ought to know, I guess, right? STEINBERG: Yes. SIMON: But you'd change your name already. STEINBERG: Yes, yeah. To me, losing Duddy was a great loss. And then the first celebrity I met when I got to New York was Zero Mostel, so... SIMON: Well, he did pretty well with that, too. STEINBERG: I think so. SIMON: Yeah. You were a rabbinical student in Chicago, and what did you feel the first you walked into Second City? STEINBERG: Well, there's no question that it changed my life. The company that I saw had Joan Rivers in it and the intelligence of it was incredible. And how it wasn't sort of a setup joke that had been around. It wasn't like I was even a student of comedy. I had no idea what I was going to do when I saw them on stage. It was just that revelation. I said I do what they're doing. Not as well, not as slick. And that just set it going. SIMON: So, how did the - if I might put it this way, and, boy, it sounds irreverent - how did the sermon shtick come to be? STEINBERG: You know, at Second City, we would do a set show based on improvisation. And they said, you know, why don't you do that. Do something from your biblical background. Who her at Second City has ever had this sort of knowledge of the Bible? So, I thought, OK, you know what? I'll play a reformed rabbi who didn't really know what he was talking about. STEINBERG: (as Rabbi) Tonight's sermon deals with the exciting personalities Moses, Solomon, Noah and a Job, all of whom had a wonderful rapport with God, whom I'm sure you'll all remember from last week's sermon. SIMON: So, I've got to ask whatever happened on the "Smothers Brothers Comedy Hour?" You became very well-known for your sermons. And I guess at one point CBS, that made them uncomfortable, right? STEINBERG: Yes. And Tommy particularly was crazed for the sermons. He loved them and all that. Said let's do one of those. And I did. And I came back to do another show with them, I think it was a few weeks later. And he took me to a room, and in the room were just duffel bags, just duffel bags. And I said what's that? He said that's your hate mail. What I hadn't been told for the second show is that Tommy had been warned by CBS you can have Steinberg back but no more sermons because of the response that they got. And I did a sermon on Jonah and that never made it to the air because the Smothers Brothers were thrown off the air because of that sermon. SIMON: So, why did you step away from standup to go into directing? STEINBERG: You know, in the documentary I was asked that. And there was a time when I was on the road by myself. I remembered it in the documentary as being Cleveland. And I was watching all the traffic heading into the suburbs, people going to their families, people being with their friends. And in fact, I was appearing to quite a few people, to maybe 1,500 people that night, my picture was on the front of the newspaper and all that. I thought, God, this doesn't really mean anything to me anymore, and I was by myself. And I said it just feels a little lonely that I have to help myself by not just doing this and being on the road. And I slipped into the sitcom directing and had a career. SIMON: This documentary ends with you back on stage at, I guess, at the age of 70. STEINBERG: Yes. I'd like to say 69 but with the wind chill factor of 70. SIMON: So, I gather this is a new standup you've done in La Jolla and Bucks County? STEINBERG: Yes, exactly. And was very difficult to try and figure out what it was I wanted to say to an audience at this age and at this time. And it took a while for me to find my sea legs, but I found it, ironically, by looking back rather than staying in the present, which is mostly what you're supposed to do in standup comedy. But the last thing I wanted to do was play the old guy who can't tweet and doesn't know what the kids are doing. That would have really destroyed me if I went that way. SIMON: Are many comedians happy? STEINBERG: OK. Here's a rule that I have. SIMON: Yeah. STEINBERG: If you have had a great childhood, a little bit of money in the bank and a happy marriage, you're going to make a lousy comedian. SIMON: So, every time there's a setback, tell yourself I can use this. STEINBERG: It helps you. SIMON: David Steinberg is the subject of a documentary that airs on Showtime on Monday: "Quality Balls: The David Steinberg Story." Thanks so much for being with us. STEINBERG: Pleasure to talk to you, Scott.

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Staff & Guest Blog Road to Wealth Archives Actor Laurence Fishburne Full interview (22:20)Tony-winning actor weighs in on comments made about Thurgood Marshall during the Kagan hearings.Clip (2:26) 1 comment Award-winning actor shares how he balances reprising the role he originated on Broadway as the first African American Supreme Court justice in Thurgood with his star turn in TV’s CSI. Entertainment, TV Read the transcript TRANSCRIPT Tavis: Always pleased to have Laurence Fishburne on this program. The Oscar-nominated actor, of course, continues on one of TV’s most popular shows, “CSI,” and if you are lucky enough to be in L.A. or in the L.A. area over the next month or so you can catch him in the brilliant play “Thurgood.” The production runs here at the Geffen Playhouse from July 7th to August 8th. Here now a scene from “Thurgood.” [Clip] Tavis: You were studying that clip so hard, like you were looking for something. Laurence Fishburne: Oh, yeah. Tavis: What were you looking for? Fishburne: I can’t tell you that. (Laughter) Tavis: Is that part of your process? Fishburne: Yes. (Laughter) Tavis: You are as cantankerous as ever, and that’s why I love you. Fishburne: That’s right, that’s right. How you doing? Tavis: How you been, man? Fishburne: I’m good, man. You? Tavis: I’m good, good to see you. Fishburne: You too, you too. Tavis: Let’s bring onto the air what we were discussing off-air the minute you walked on set. Fishburne: These hearings, these Elena Kagan hearings, yes. Tavis: These Elena Kagan hearings. I have been upset about two things regarding – upset about a lot of things this week, but two things with specific regard to the late, great, Justice Marshall. One, in no particular order, these Republicans, many of them, have been beating his legacy like it were a piñata. I can’t – I’m like Popeye. I done stoods all I can stand – Fishburne: (Laughs) And I can’t stands no more. Tavis: – I can’t stands no more for how they’ve been treating Thurgood Marshall this week in these hearings, and his legacy, number one. Fishburne: Okay, right. Tavis: That’s not making me happy. Number two, for all that Thurgood Marshall did to give Ms. Kagan in her twenties an opportunity to clerk for him, I personally don’t think she has been as aggressive defending his legacy as she should have been. Fishburne: Right, right. Tavis: That’s my take. I ain’t playing Thurgood Marshall. Have you seen any of this stuff? Fishburne: I’ve read a lot of this stuff and just my take on it is that the Republicans are not aware of Thurgood’s history, his contribution, his writings, his rulings as a justice. They are ignorant of just how effective and long-lasting the changes are that he was responsible for creating in this country. If they really, really were aware of the history they would have to come away being very ashamed of the things that they’re attempting to do, because I think they’re attempting to beat up his legacy. I don’t think they’re being successful at all, and I would think that Kagan would argue that Justice Marshall doesn’t need to be defended, that his work basically speaks for itself. Tavis: See, that’s why I love you. That’s a charitable and generous read, I think, on your part. Because if I were there and they were hitting Thurgood the way they were, I’d have to stand up and say, “Wait, wait, hold up.” Fishburne: Stop. Tavis: We’re not going to slam Justice Marshall like this. Fishburne: Right, right, right. Tavis: But then again I’m not nominated for Supreme Court either, so. Fishburne: Justice Marshall was always up for a fight. Justice Marshall could trade body blows with anybody. So I think Justice Marshall’s legacy can more than stand up to these – it’s like shooting mosquitoes with an elephant gun. Tavis: I’m with you on that, we agree on that part. This kind of talk about Marshall does what, if anything, for the launching of this play? Fishburne: Well, I think it’s nice to have his name spoken. We were in D.C. just before we came here, performing for three weeks at the Kennedy Center, at the Eisenhower Theater, to a real triumph. We had standing ovations every evening and we had Supreme Court justices from the chief justice to Sotomayor, the president and the first lady, the attorney general – so many people came through. Any time we’re talking about Thurgood Marshall, that’s a good thing, I think, because it gives us an opportunity to go back, look at the history and recognize what his contributions were. Tavis: I saw you, as you recall, on Broadway with the play and had a great time seeing it there. To your point now, what was it like playing him in Washington? Fishburne: I don’t think I will ever have a better experience playing Thurgood Marshall than I had in Washington. He was from Baltimore, which is right there, he went to school in D.C. at Howard, he went to college at Lincoln, which is on the border. The Supreme Court was right there, we got a great tour of the Supreme Court while we were there. I actually had the opportunity to stand at the lectern in the Supreme Court and face the justices, which was really a powerful thing for me. The airport in Baltimore is named after him. So his personage – as I said, we got standing ovations every evening. A lot of that, certainly some of that, was for my performance, but I have to give credit where credit is due and I believe that most of that was for his personage, his legacy, his work as a hometown guy. Tavis: I promise not to ask a follow-up – there is no follow-up coming behind this, and I’m not asking to put you on the spot or start any mess, but I am just curious. Fishburne: Yes, sir. Tavis: When you mentioned that certain justices came to see it, including Sotomayor, to your knowledge, was Justice Thomas there? Fishburne: Justice Thomas, to my knowledge, did not attend. Tavis: Just asking. Fishburne: No problem. Fishburne: Yeah, understood. Understood. Tavis: Where was I now? (Laughter) Fishburne: See, you took yourself out. You thought – you were waiting for me to take you out; you took yourself out. Tavis: No, no, no, no, no, no, no. (Laughter) I’m just asking, that’s all. Fishburne: No, Justice Thomas didn’t make it. Tavis: Okay. So a little birdie told me that – I don’t know how, but a little birdie told me that this one-man show is even better now than when I saw it on Broadway. I can’t imagine – Fishburne: Is that right? Somebody said that to you? Tavis: I hear that. (Laughter) I can’t imagine that. Is that possible? Have you tweaked it a little bit? Fishburne: It is certainly deeper. It is certainly deeper and richer because I had the two years to sort of let it ferment and geminate inside me. Then bringing it back out, having gone to D.C. and played it where it all happened, so to speak, has added something to it. The Marshall family has graced me with their presence in the audience many, many, many times and given me so much love. All of these things have just enriched the performance. I think I’ve grown with it. I think it’s much deeper. I think you’ll see that when you come check it out. Tavis: What drew you to this material, to playing him in the first place? Fishburne: When I read the material I learned so much. I had no idea that for example he argued Brown v Board of Education and won. I only knew that he was the first African American Supreme Court justice. So learning that he argued Brown, for example, that he argued 32 cases before the Supreme Court and won 29 of them – Tavis: Was solicitor general, ironically, the same position that Kagan has now. Fishburne: Right, was solicitor general, and that he and the team that Charlie Houston put together, Charlie Houston being the architect of dismantling legal segregation in this country. That the two of them and their team – well, the team of them systematically dismantled segregation, legalized segregation in this country over a period of what really is 20 years. There’s 20 years of work that went into what the result of – the result being Brown versus the Board of Education. That’s astonishing, and that’s real long-view thinking, it is an incredible way to use the law. This is important stuff for people to know. This is important stuff for people to know, so I just thought, well, you know what? I can make some kind of small contribution doing this. Tavis: With a life and legacy as rich and full as his is, how do you go about whittling this down to the time frame? Fishburne: Well, the playwright, George Stevens Jr., has done a great job of doing it. Basically he takes two things – he takes the history of the whole sort of civil rights movement, with respect to how they used the law, how they worked within the construct of the law, and Thurgood’s personal story, his personal history, and he sort of weaves them together in such a way that the history that you’re receiving is coming at you in such a personalized way and such a human way that it reflects everyone’s history in this country. Tavis: I’m still blown away – I’ve asked this question of you in our private conversations; now I’ll ask it publicly. I am just – it’s mind-boggling to me to watch you perform this, to figure out how you recall all of this dialogue. Fishburne: Yes, yes. Tavis: It’s just you. Fishburne: It’s just me. Tavis: For what, 90 minutes? Fishburne: Ninety minutes. Tavis: Just you. That’s a lot of dialogue. Fishburne: Sure, it’s a lot of dialogue. Well, think about it this way. When we were in D.C. I did an interview with a gentleman who gave me a recording of Justice Marshall arguing before the Supreme Court in 1958, and in the performance, in the show, Thurgood argues before the Supreme Court in 1952 and is interrupted 43 times by the justices. In 1958 he argues before the Supreme Court again. He argues for 90 minutes; he wasn’t even interrupted three times. Now, he was just doing what he was doing as a lawyer. I don’t know how much of what he was arguing was written down. I have a whole script that’s been written down that I’ve been practicing for (laughter) two and a half years now. It’s kind of like a big piece of music to me. If I was a musician I would have to know – and I was going to play a piece, a symphony, I’d have to be able to read the music but I’d also have to play the music in time. So for me it’s just kind of like what I imagine a musician does in learning a piece of music and then playing it. Tavis: I was pleasantly surprised by this, I didn’t know what to expect when I came to see it, but I was pleasantly surprised, Fish, when I saw that it wasn’t just a recitation of his legal prowess. Fishburne: No. Tavis: I learned. Fishburne: Okay. Tavis: I consider myself a decent student of Marshall, decent. I learned so much about his personal life and about his back story that made the play, I thought, really work. Fishburne: Well, this is why it’s such an engaging evening, because you come sort of with the expectation that it’s just going to be this presentational recitation of law and facts and dates, and what you get is you get the monumental storyteller. This man was in the tradition of the African griot. He was a master storyteller, and every story had a lesson, every story had a reason, every story – he had someplace he was going to take you with the story. And he was going to expose you to something, he was going to get you to look at something in a different way, in a way that was completely different from the way – here’s a glass. Look at this glass. I’m going to tell you this story, take you around the world, and by the time we get over to this side of it you’re going to look at this glass and you’re going to be like, “Wow, I didn’t know all of that was capable – I didn’t know you could hold all that in that glass.” Tavis: Apparently, a funny a guy – a prankster. Fishburne: Hilarious. Hilarious, which is the other thing that I get to do that I don’t normally get to do. People don’t really – you know that I’m funny because you and I have spent some time together, but he was really, really a very funny man. Tavis: A lot of folk know you’re funny. We remember Cowboy Curtis. Fishburne: Yeah, okay. Tavis: Way, way, way, way back. Fishburne: Way back. Tavis: (Laughs) To your point about being funny and all the various things you’ve had a chance to play – this is a crazy question; let me ask anyway – how do you situate this thus far in your body of work? Fishburne: I don’t really know. There’s a good chance that I will be able to grow with this piece, do it every three or four years. Just take it out, shake it off, travel to a different city and perform, which will keep – Tavis: You love the material that much, to do it? Fishburne: I love the material that much. I think the material is that important. I think that I am well matched to it. I think I’m suited to it well. Tavis: Let me jump here. Why do you think that? I agree, but why do you think that? Fishburne: Well, you know when your clothes fit. (Laughter) You know when your clothes fit right. Tavis: I like that. It just fits, huh? Fishburne: You know when your clothes fit and you put it on and you like it and it makes you feel – so I think it’s a good suit of clothes for me. Tavis: You wear it well. Fishburne: Yes, and again, it is important material. It is not going to lose any significance in our lifetime. In our lifetime it won’t lose any significance. It’s the kind of history that people need to know, and it comes at people in a way that is so much fun. By the time the first 20 minutes goes by people are sort of – I think they’re very sort of caught off-guard by how much fun they’re having, and that’s a wonderful thing. Tavis: You mentioned earlier that we’ve known each other for a while, and I don’t want to overstate our relationship, but I’ve never regarded you – you may very well be – I’ve never regarded you as an overly sentimental sort of guy. Tavis: I say that to ask whether or not there are certain sentiments, certain emotions running through you when, to your earlier point, you get a chance to play this in Washington and it just so happens that the president, the first African American president, is in the audience watching you play Thurgood Marshall. Tell me about that night. Fishburne: This was huge for me. We did the show in New York in 2008 when he was running for president, and we had word from the playwright, George Stevens Jr., that he might attend a performance one evening. Ultimately he didn’t because he was very busy; he was running for president. I was also told that he keeps a portrait of Thurgood Marshall in his private office, so quite naturally one would assume that Marshall was a role model for him. So he becomes elected, that’s terrific. All the feelings that all of us have about that in this country, regardless of what color we are, that it signals that there’s some kind of change at work in the American psyche and in American hearts. So to be in D.C., for President Obama and Mrs. Obama to come to the show with the attorney general and his wife – Tavis: First Black attorney general. Fishburne: Okay? I said to them when I met them afterwards, I said that you have inspired people in this country so much and I just wanted to do something to help inspire you to continue so that you can continue to do what you’re doing. Because the size of the responsibility that this man and his family have taken on is – I can’t even imagine what it must be like. Tavis: The irony, as I listen to you now talk about this, Laurence, the irony for me about Marshall specifically is that while we do and should celebrate the fact – somebody once said that every race should be judged by the best they’ve been able to produce and not by the worst. Fishburne: Oh. Tavis: So Marshall clearly ranks among the best that our people have ever given the world. Fishburne: Absolutely, sure. Tavis: So we should revel and celebrate in that, this Black man and his accomplishment on the one hand. On the other hand, what I celebrate about Marshall is not so much the fact that he was Black or what he did for Blacks, but I celebrate the humanity that was at the epicenter of all – does that make sense? Fishburne: Absolutely. A gentleman was at the show the other night and he said that when Marshall retired he was walking down the steps of the Supreme Court. I reporter approached him and asked him, “Justice Marshall, do you believe that your service on the Supreme Court has been beneficial to Black and brown Americans?” Justice Marshall replied, “I believe that my service on the Supreme Court has been beneficial to all Americans.” I think that’s really who he was as a human being. Tavis: Folk get that when they see the play if they happen not to be Black? Fishburne: They do. They do. Yes, they do. Tavis: So how are you balancing this now with your TV work? Fishburne: The theater work gives texture to the other work. This I learned from the late Lloyd Richards, who directed the August Wilson cycle from the very beginning. He was August’s partner at the beginning and he said that the theatrical work lends and gives texture to the film work, the television work. So this nine weeks that I’m playing the show is only going to make me stronger and is only going to get me more fired up. By the time I get back to “CSI” I’ll just be bubbling with stuff and hopefully we can apply it to that and make that more exciting for people. Tavis: I was flipping channels the other day and you’re on somewhere all the time. Fishburne: Somewhere. (Laughs) Tavis: I was flipping channels and “Cornbread, Earl and Me” was – Fishburne: That’s what happens when you work for 40 years. Tavis: Exactly. (Laughs) I’m glad you said that. Fishburne: That’s what happens when you make movies for 40 years. Tavis: I’m flipping and I come across “Cornbread, Earl and Me” the other day and I know, of course, that we’re going to – I’m thinking that I’m going to see Laurence in a couple of days and talk about this Thurgood Marshall project. I was wondering whether or not this career that you started when you were so young, has it turned out the way you thought it was? Has it – Fishburne: It’s turned out much better. Tavis: Much better, even. Fishburne: Much better, are you kidding? Oh, much better. Yeah, God has been really good to me, Tavis. I have taken care of my gift, and because I’ve taken care of my gift I feel like I’ve been continually and constantly blessed to get to do wonderful things. I’m getting to play Thurgood Marshall at a time when there are a lot of people that don’t know who he was and what he did. And I have the opportunity not only to sort of educate them about that but to entertain them at the same time, and they come away inspired. That’s a gift. That’s an incredible gift. Tavis: When you said earlier that you have taken care of the gift, you’ve taken care of the instrument, by that you mean what? Fishburne: I mean I’ve tried not to be lazy, I’ve tried not to do the same thing over and over again, I’ve tried to be as interesting as I can without completely alienating the audience. I’ve tried to do things that are different. I don’t necessarily go out and try to do something that’s going to be just something that will please the audience. I’m not interested in doing something where I get the most people to come see the movie at the same time and they get the biggest explosion. I’m not interested in that. But I am interested in touching people and reflecting our common humanity to people. I am interested in that. Tavis: There’s a risk, it seems to me, though – it’s a beautiful thing if you’re so inclined, I would think, but there’s a risk in deliberately plotting and planning to do something different every time. It’s a beautiful thing – Fishburne: I don’t necessarily think that risk is a bad thing. I think risk is important. I think for an artist, risk is very important. I was watching a biography of Miles Davis a couple of nights ago and his whole trajectory was about I did that, I’ve got to do something else, because I’ve just got to do something else, because I’m not going to be happy and it’s not going to be interesting. If he hadn’t done all of that we wouldn’t have those last records. Those last two records of his, “Amandla” and “Tutu,” those things are just – they’re staggering. Tavis: Some folk didn’t get that. Some folk pushed back on Miles for pushing the envelope so far. But it speaks for itself. Fishburne: Yeah, yeah. Marshall wasn’t resting on his laurels, either. He was trying to take it as far as he could. Tavis: Neither is Laurence Fishburne, that is to say, resting on his laurels. (Laughter) Fishburne: Trying not to. Tavis: That’s why he’s working like a – Fishburne: That’s why I’m working. Tavis: Yeah, exactly. Fishburne: It’s working. Tavis: It’ll work if you work it – Fishburne: Exactly. Tavis: – and he’s working it. (Laughter) His name, of course, Laurence Fishburne. The play is “Thurgood.” If you are lucky enough to be anywhere in Southern California, try to get a ticket to see this thing. It won’t be easy, but try to get a ticket to see it at the Geffen Playhouse. You got my tickets? Fishburne: I have your tickets, Tavis. Tavis: Whew – my man, my man. (Laughter) At least I know I can get in Fishburne: You can get in. Tavis: Good to see you, man. Fishburne: You too, man. Thank you. [Walmart – Save money. Live better.] Announcer: Nationwide Insurance proudly supports Tavis Smiley. Tavis and Nationwide Insurance – working to improve financial literacy and the economic empowerment that comes with it. Nationwide is on your side. And by contributions to your PBS station from viewers like you. Thank you. External Links Mr. Fishburne's official site "He's found a joy supreme" Mr. Fishburne on NewsHour Steve Ballmer, L.A. Clippers ownerActor-Comedian-Musician Garrett MorrisActress Jeanne Tripplehorn Last modified: April 26, 2011 at 12:28 pm Learn More TAVIS TWEETS Tweets by @TavisSmileyShow TELL TAVIS Love you, Maxwell. PoetForPeace comments on Tavis' conversation with R&B Singer Maxwell Tavis, THANK YOU! One of the best shows ever. Helping democracy come forward some more… Lane Poor comments on Tavis' conversation with Courting Justice This is a great idea!! Great conversation. Seeing judges have an open and honest conversation about current issues that affect real people is grand. Judge Jimmie Edwards seemed honest, passionate and truly sincere. AWESOME! Gene Dixon comments on Tavis' conversation with Courting Justice © 2016 The Smiley Group, Inc. All Rights Reserved Home | Watch Now | Blogs | Features | Tune In | Feedback | About | Shop | Pledge | PBS Privacy Policy

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Bryan Cranston thrills student leaders at matineeMark Kennedy AP Drama WriterPosted: 04/30/2014 04:53:17 PM MDTClick photo to enlarge«1»NEW YORK (AP) — Bryan Cranston may play a powerful U.S. president on Broadway, but on Wednesday he was outnumbered by about 70 leaders. The freshly Tony Award-nominated star of "All the Way" joined seven other company actors after the matinee to answer questions about acting and politics from a large group of class presidents and student council officials from over 50 New York City public high schools. Cranston plays President Lyndon B. Johnson in Robert Schenkkan's play about L.B.J.'s bumpy first term. The play explores Martin Luther King Jr.'s attempts to keep his movement from fragmenting, the growing war in Vietnam and a snooping FBI led by J. Edgar Hoover. One student wanted to know how Cranston went from Walter White, the sinister meth lord in the TV series "Breaking Bad," to playing Johnson, an irascible, foul-mouthed old-school politician. "The transition was actually very smooth," Cranston said, as the students laughed. "There are a lot of similarities there. More than I care to say. They are two dynamic men with tremendous determination and goals who had also had enflamed egos, which ultimately was their downfall." Cranston was joined in the talkback by actors Betsy Aidem, Michael McKean, Susannah Schulman, Roslyn Ruff, Peter Jay Fernandez, Brandon J. Dirden and Christopher Liam Moore. All were in street clothes and sat on the lip of the stage.Advertisement Victoria Sottile, an English and drama teacher at The Leon M. Goldstein High School for the Sciences, brought three students from Brooklyn and said she loved the experience. "As an educational method, art is wonderful way for people to be taught," she said. "And that's the thing about theater — you get everything: You get people working together, you get history, you get art, you get music." The students, who had been invited to see the play in partnership with the New York City Department of Education, asked about the research the actors did, how they got their starts and how lawmakers have changed since the 1960s. For some of the students, it was the first time in a Broadway theater. "For these kids in New York City — the cultural capital of the world — sometimes we can be really insular," said Peter Avery, with the education department's Office of Arts and Special Projects, which helped set up the event. "It's important for them to see that there is a present, but there's also a past that got them here, and that they are the future." Rob McIntosh, a teacher at the Brooklyn High School of the Arts, brought two students but would love it if the entire humanities department came. "You can't possibly take it in the same way out of a book or video clips than when you spend two hours living this period of history with people who are bringing them to life," he said. "There's no comparison." That was echoed by one of his students, Victoria Queliz, a student council president and theater major. "It's a great experience to just sit there and watch people actually live in the moment and live in the world that they're in instead of our world. A lot is different and you can see how times have changed," she said. But she turned even more serious when it came time to evaluate Cranston's chances of earning a Tony Award in June. "If he doesn't win, I'm going to sue," she said. ——— Online: http://allthewaybroadway.com ——— Mark Kennedy is at http://twitter.com/KennedyTwitsPrint Email Font ResizeReturn to Top RELATED

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Ted Neeley, star of both the 1973 classic film and various Broadway touring versions of “Jesus Christ Superstar,” will perform in Delaware, but without the robe. Ted Neeley, star of both the 1973 classic film and various Broadway touring versions of "Jesus Christ Superstar," returns to the road, this time without the robe.Neeley will grace the stage at Delaware Theatre Company in a concert setting during "A Very Special Evening with Ted Neeley" on March 17. A reception will be held immediately following the concert. A portion of the proceeds will benefit the artistic, educational and outreach programming of the Delaware Theatre Company.Fronting his five-piece outfit Little Big Band, Neeley will return to his Texas roots and his first love as a "singer in a rock 'n' roll band." He'll debut new music with the group, which includes Kim Norton, a stellar guitarist who has provided Neeley with an underscore of searing riffs on more than 1,000 performances of "Superstar," and bassist James Webb, son of famed songwriter Jimmy Webb, and co-founder of the popular Webb Brothers Band.Faithful followers, affectionately known as "Tedheads," will get to hear Neeley sing the iconic "Gethsemane", take a look back at his long career on stage and screen, and hear music from his new album and stories from the recently released film "Django Unchained." The new show also features stories and musical material from his career as a rock opera pioneer, including selections from "Tommy," "Hair," "Sgt. Pepper's Lonely Hearts Club Band on the Road" and, of course, "Jesus Christ Superstar."Ted also opens the vault of images and unseen footage from his personal archives, including interviews with directors Norman Jewison and Tom O'Horgan, Tommy Smothers, Dennis DeYoung and many others.Early-bird tickets are on sale now. For information call the box office at 594-1100 or order online at delawaretheatre.org.

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She didn't have to be asked twice. Rosie O'Donnell will join the hit ABC Family series The Fosters on Monday, Jan. 20 (9/8c), for a multi-episode storyline. Her role: Rita Hendricks, the tough-love operator of a group home that takes ... She didn't have to be asked twice. Rosie O'Donnell will join the hit ABC Family series The Fosters on Monday, Jan. 20 (9/8c), for a multi-episode storyline. Her role: Rita Hendricks, the tough-love operator of a group home that takes in runaway Callie Jacob (Maia Mitchell). TV Guide Magazine spoke with O'Donnell - actress, activist and super-Tweeter - about landing this cool new gig on one of her favorite shows. TV Guide Magazine: Aren't you kind of living The Fosters in real life?O'Donnell: That's exactly what my 11-year-old daughter, Vivi, said! She's a big fan of ABC Family - she loves Twisted and Pretty Little Liars and all those programs - and one day she was all excited about this new show coming on. "It's just like us - two mommies and bunch of different kids. Let's watch!" So we did, and I was extremely moved by it. TV Guide Magazine: Did you approach the show about a role? Or did they come after you?O'Donnell: I googled The Fosters and found out Peter Paige, whom I worked with on Queer as Folk, was the co-creator. I emailed him to say how much my family loved the show and he wrote back and asked if I'd do a role. I said, "In a minute!" TV Guide Magazine: We find out early on that your character is a food addict. Are there other revelations in store?O'Donnell: Rita has some pretty deep reasons for getting into this line of work and a real Achilles' heel. You'll find out why she's not able to treat herself as well as she's able to treat these troubled kids. They remind her of what she once was. You know, this group-home thing is something a lot of people in this country don't know about. There are safe places like these in almost every community where kids who are aging out of foster care are living together, usually with one social worker and a couple of young associates, in an effort to reconnect those wires that somehow were snipped, those synapses that don't quite fire in their brains. It's a great social system that helps these kids survive what has become a very hidden epidemic in this nation. The independent-living home you see on The Fosters involves no bars on the window, no lockdown. Just trust. TV Guide Magazine: How would your life have been different if there was a show like The Fosters when you were growing up?O'Donnell: God, I can't even imagine! I remember going to church as a kid and hearing the priest talk about Soap and how horrible it was to have a gay character on TV. That's stuff you carry with you for life. Remember that sitcom Love, Sidney in the early '80s? Tony Randall played a gay man but the only real reference that he'd once had a male partner was having him look lovingly at a photo on the mantelpiece every once in a while, and that show was cancelled in a second. Things didn't really start to change in a big way until Will & Grace came along. [Laughs] And when I heard the premise of that show I was sure it was doomed! Last year, when DOMA was declared unconstitutional, I changed internally in a way that surprised me. I suddenly realized how much shame I'd been carrying because I did not feel equal. Now the world is shifting and there's so much more acceptance and understanding, especially within the younger generation. The Fosters has done an awful lot to help that. TV Guide Magazine: In your wildest dreams, did you ever imagine you'd see such changes?O'Donnell: Never. I'm still kind of in shock. I came out of my therapist's office a couple of months ago and I see two teenage girls holding hands and walking through the parking lot. I stopped them and said, "Excuse me, are you guys a couple?" They were kind of sensitive and weirded out at first but they said, "Yeah." And so I asked them, "Then it's cool with your parents and the people at your school? You're just so beautifully in love and so comfortable with each other!" I was getting really choked up. I said, "I'm 51-years-old and I'm gay." [Laughs] And they were like, "Oh, uh...well, congratulations!" They didn't really understand what it meant for someone my age to see that, especially having just come from my shrink where I was talking through my feelings about DOMA. This generation - four generations from my own childhood - is able to live in a fairly shame-free way and that is so fantastic and overwhelming to me. That said, I don't really think of The Fosters as a gay show. TV Guide Magazine: Why's that?O'Donnell: It's a family drama about a clan that just happens to be headed by two lesbians. It's about how families come together nowadays. In that same way, I don't consider it a biracial show, just because one of the moms is African-American. It's about very recognizable, very relatable, really wonderful people. Vivi does have one complaint - that the mommies don't kiss enough. I told that to Peter Paige and he said, "That's an indication you're in a good and happy marriage and your child recognizes that. Because a lot people who watch our show say, 'Why do those women kiss so damn much?'" TV Guide Magazine: Is Vivi pushing for a guest appearance?O'Donnell: She is dying to be on The Fosters! She's like, "Mom, why can't you tell them to write me in? I definitely want to be on this show. I definitely mean it!" And I say, "Honey, that's not how the entertainment business works!" And she fires back: "Well, what about Will Smith's kids? They have record deals! They're in movies!" TV Guide Magazine: You do kind of owe her. You probably wouldn't be on The Fosters without her, right?O'Donnell: Hey, you'll get no argument from Vivi. She says, "You wouldn't have even known about this show or ABC Family if it wasn't for me! You didn't even like Pretty Little Liars until I made you watch it with me in a binge weekend!" It's true. [Laughs] I can't argue with that! View original Rosie O'Donnell Meets The Fosters at TVGuide.com Rosie O'DonnellThe Fosters Site ServicesContact UsSubmit your newsPlace an AdAnnouncementsChurch DirectoryMarket PlaceShoppingClassifiedsHomesBoats MagazineCommunity InfoArkadelphia Area Chamber of CommerceClark CountyArkadelphia Public SchoolOuachita Baptist UniversityHenderson State UniversitySister PublicationsStuttgart Daily LeaderHope StarThe White Hall JournalThe Sun-TimesNevada County PicayuneNewport IndependentThe Daily World Arkadelphia Siftings Herald - Arkadelphia, AR ~ 205 S. 26th St. Arkadelphia, AR 71923 ~ Privacy Policy ~ Terms Of Service Market PlaceClassifiedsCarsJobsHomesFind-N-SaveShoppingPlace an AdPropel Marketing Services

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Hear all of Luke Skywalker’s whiny questions in one video Chris Scott Barr | Apr 11, 2016 In The Force Awakens, Luke Skywalker is a Jedi Master, the Hero of the Rebellion, and is completely mute. While his facial expression at the end of the movie conveys so many emotions, and begs so many questions, he doesn't have to say a word. That's a far cry from our first introduction to the character. Private MMO servers – A grey area with potential Chris Scott Barr | Apr 7, 2016 Earlier today the news broke that one of the most popular World of Warcraft emulation servers is being taken offline. The reason that it's going dark is due to the threat of legal action from Blizzard against both the team running the server, and the hosting provider that keeps it online. While Blizzard is legally in the right, it does bring up some interesting questions about the way MMOs change over time. Rogue One trailer: every frame from the Star Wars story (so far) Chris Burns | Apr 7, 2016 The first teaser trailer for Rogue One: A Star Wars Story is here, and we've gone ahead and begun the breakdown. This isn't like the analysis-filled thinkpieces you've seen 10 minutes ago. This is a data post. In this post, you'll get almost every single frame from the trailer. Every frame. Every frame that isn't deep within a fade in or out. Every single frame would be madness - though we've got the ability to go that mad, too. Here we have everything important - suitable for whatever you might want to do to satiate your need for more Star Wars, all the time. Continue Reading Rogue One teaser trailer brings together new faces and old favorites This is a great week for Star Wars lovers, such as myself. Just two days ago The Force Awakens was released on Blu-rey and DVD. And today, we're finally getting our first look this year's new Star Wars movie, Rogue One. Comcast, Disney team to offer ‘The Force Awakens’ on Xfinity TV store Brittany A. Roston | Apr 6, 2016 Comcast and Walt Disney Studios have teamed up for a new content licensing deal that brings top movies to the Xfinity On Demand TV store, the biggest of which is Star Wars: The Force Awakens. Under the agreement, Comcast subscribers will be able to download the new Star Wars movie, Toy Story, Pirates of the Caribbean and more directly from their television using the service provider’s set-top box. R2-D2 Architectural Desk Lamp is a droid for your studies When the time rolls around to finish up some work or hit the books, you head to your desk, only something feels off. Your desk seems a bit too generic, a little too all-business-and-no-play. It's functional, yes, but sometimes you need something a more, just a touch of personality to carry you through those long evenings. What's better than an astromech droid illuminating your books? Sphero BB-8 toy will watch “The Force Awakens” with You Shane McGlaun | Apr 5, 2016 Today is the big day for Star Wars fans, the latest film in the franchise "The Force Awakens" is landing on video today. If you happen to own the Sphero BB-8 toy based on the new droid in the film, there is a cool update for that toy designed to keep kids playing with it and to make you want to watch and enjoy the film at the same time. It's a nice bit of marketing for the toy and the film. Hot Toys has a life-size First Order Stormtrooper figure Brittany A. Roston | Mar 30, 2016 Hot Toys has a new First Order Stormtrooper, and it's life-sized. The model is a tad over 70-inches high (sans the base, which adds another 8-inches), and is designed to look just like a stormtrooper from The Force Awakens, being the latest entrant in the Life-Size Masterpieces Series. Sideshow Toys says the figure is “meticulously sculpted,” and it includes a blaster in its hands. Sound like an awesome addition for the living room? You may think again when you see the price tag. Nintendo 64’s Rogue Squadron lands on Steam Chris Scott Barr | Mar 30, 2016 The release of the Nintendo 64 was probably one of my favorite periods of console gaming. I was never bored with the console, as there were just so many different titles to play, that kept my interest. One such classic was Rogue Squadron. Sure, it was no X-Wing or TIE Fighter, like I had for my PC, but it was so much more advanced than either of those games. And now it's finally made its way to Steam. Video puts ‘The Force Awakens’ scenes next to ‘A New Hope’ counterparts Anyone who has seen Star Wars: The Force Awakens knows that there are a lot of similarities between it and A New Hope. Of course, the big debate has been whether or not the similar stories were done tastefully, or were a shameless rip-off. Well, the similarities go far beyond the overall story, and one person set out to showcase just how closely many shots resembled the originals. Star Wars: Battlefront ‘Outer Rim’ update now available Yesterday brought a big Star Wars: Battlefront update, and with that updates gamers get access to a bunch of new stuff: Hutt Contracts, new firearms, and so much more. It’s 8GB to download and is available to game owners now, and brings a bunch of hero changes, a whole slew of bug fixes, several mission changes, nearly a dozen multiplayer mode changes, a couple handfuls of vehicle changes, and more. The Outer Rim expansion is now also available to all Season Pass owners. LEGO Star Wars: The Force Awakens gets voice acting, new combat mechanics If you've ever played any of the LEGO Star Wars games, then you're accustomed to their special blend of humor and storytelling. They're changing things up a little for their next installment for The Force Awakens. However, it's looking like the changes will be for the best.

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The CW orders Pilots for Dramas iZombie, Jane The Virgin and terrorism drama Identity Posted by Assassin The CW has gotten in the pilot ring with orders to dramas Identity, from executive producers Alex Kurtzman and Bob Orci, and Jane The Virgin, an adaptation of the successful Venezuelan telenovela Juana la Virgen. They join previously announced standalone pilot The Flash, which is now casting, and backdoor Supernatural spinoff episode, tentatively titled Supernatural: Tribes, written by Andrew Dabb and directed by Robert Singer. Identity too is inspired by existing material, Israeli feature script Dance Of The Hours by Orna Raiz. Written by Corinne Brinkerhoff, the drama project centers on a young woman in need of a transplant who learns she is related to a powerful family whose son is her only hope for a donor organ. The CIA approaches her to investigate the family’s involvement in domestic terrorism and to infiltrate their rarefied world. Her loyalty, morality and ethics are tested as she’s forced to slowly build a case against the family who saved her life. CBS TV Studios is producing with studio-based K.O. Paper Products as well as Scripted World. Brinkerhoff is exec producing with K.O.’s Kurtzman, Orci and Heather Kadin and Scripted World’s Rob Golenberg and Alon Aranya (ABC’s Betrayal). Jane The Virgin, written by Jennie Snyder Urman, also is from CBS TV Studio, where Urman is under a deal, and Electus. It centers on Jane, a hardworking religious girl who, due to a series of outrageous events, is accidentally artificially inseminated. Urman executive produces with Electus’ Ben Silverman as well as Gary Pearl and Jorge Granier. One of the most buzzed about projects at the CW this season, Rob Thomas and Diane Ruggiero’s drama adaptation of DC‘s iZombie, also has received an official pilot green light. This puts the CW, which carried the final season of Veronica Mars, back in business with the series’ creator Thomas in a big way as he also is doing a Veronica Mars spinoff digital series for the network. Written by frequent collaborators Thomas and Ruggiero based on the characters created by Chris Roberson and Michael Allred and published by DC Comics’ Vertigo imprint,. iZombie, from Warner Bros TV and Rob Thomas Prods, is a supernatural crime procedural that centers on a med student-turned-zombie who takes a job in the coroner’s office to gain access to the brains she must reluctantly eat to maintain her humanity, but with each brain she consumes, she inherits the corpse’s memories. With the help of her medical examiner boss and a police detective, she solves homicide cases in order to quiet the disturbing voices in her head. Thomas and Rugierro, who co-wrote together the upcoming Veronica Mars movie, are executive producing with Danielle Stokdyk and Dan Etheridge. Source: deadline

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In the French Style(1963) FOR In the French Style (1963) YOU CAN In the French Style A beautiful art student is... Enjoyable, good film I happened upon this film last week while switching channels, and I ended up sitting spellbound watching 3 films in a row of TCM's Jean Seberg retrospective. It was very enjoyable, as I only knew her from Breathless, and of the 3, this one had the most impact on me. I think it is a good, enjoyable film. It is an interesting glimpse into the early 1960s lifestyle and attitudes amongst some groups. Seberg is beautiful in it. Perhaps because I am a single female who lived in Europe when I was 21-23 and again when I was 30-40, and am thinking about moving back there now, I even found the "message" of, and various relationships in, the movie quite close to reality, and thought-provoking for me personally. I want to see this again, but it's not available for sale or rent. I will be waiting to see it in October, when it's next shown here. An Awful Movie! albert silverman The voice of the young Frenchman Guy is dubbed!! As is almost invariably the case, dubbed voices are disastrous. This one has to be heard to be believed!In my opinion, this movie is well below the standards set by TCM in the past. I don't know how this dawg slipped in there, but I hope that this sort of thing can be stopped before it takes hold.Are you listening, TCM? Charming, melancholy New Wave homage K. Lough An American production that emulates early French New Wave films, this one is far more pleasant than that description sounds. Mainly interesting for how it shows New Wave storytelling innovations' international influence before the more heralded Bonnie and Clyde, the film is still entertaining enough on its own.Based on two short stories, the first half focuses on an awkward romance between Jean Seberg and the type of insecure, abrasive student Jean-Pierre Laud would often play for Godard and Truffaut. The second skips to four years later, as Seberg, now a socialite, sorts through her lovers and makes a tough life decision.Both halves are good, though the transition is odd. I felt that the first half was superior though, feeling like the sort of thing Godard could have stretched into a full-length. It also features a hilarious, heart-breaking scene in a cheap hotel room that stands head and shoulders above the rest of the film.This film has apparently never been released on video or DVD, sadly. Its definitely worth a look for fans of early 60 French cinema who want to examine the films' worldwide impact.

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Cheat SheetA speedy, smart summary of news and must-reads from The Daily Beast and across the WebBy clicking "Subscribe," you agree to have read the Terms of Use and Privacy PolicySubscribeThank You!You are now subscribed to the Daily Digest and Cheat Sheet. We will not share your email with anyone for any reason No. Not at all. Like I really didn’t. I just came home you know from the doctor’s office after having that very weird thing happen. And I emailed Jason [Katims] and I told him. And I said, “What if we just explore that for Kristina?” And he said, “That’s just so weird because we just broke the story in the writers’ room.” So it was kismet. The one thing I was sort of worried about that it was done before, you know, on television. And I did not want to exploit anybody. I think that’s why everyone responded to this. Like you said, this storyline has been done so often on TV, but there’s something about the way Parenthood handled it that was just so different. What do you think that was? Well I think part of it was that the whole family was involved. You know what I mean? It affected everybody. And I feel like they used humor through it. And then everybody just sort of pulled from their own experiences. It was a collaborative effort on everyone’s part so it just…did something kind of magical. I just lost a friend a couple weeks ago to breast cancer. I grew up with her. This disease takes people so young. She was 40. And it just sort of—I was like, “Oh the season ended, now onto newer, different thing in Kristina’s storyline.” But this is a reminder to me how horrible this is and how it’s real. When you had your own scare, everything turned out OK. So what it was like for you to act out the other outcome, when everything didn’t turn out alright? It was sort of—and I said this to someone else—I felt guilty, you know, like I was sort of able to leave it at the door at the end of the day. I just felt like it was unfair, for people to have to go through that. Like, why couldn’t they do a take two? It’s made me a little nutty. I sort of wrestled with myself and wished everybody could just leave it at the door and not have to deal with it. I will say it felt like it was really happening last year. People would come up to me at school and say, “Are you okay?” And I’m like, “I’m just acting.” It was a weird year. It was a good year. But it was just a strange year. The reviews of your performance speak for themselves. Did you have a sense when you were going through of all this that you were doing such good work? No I didn’t. I really didn’t. We would do our stuff and go home at the end of the day. I didn’t really reflect too much on it at all. But you know all the accolades and all the stuff and all the great praise we’re getting is shared for all the people that have gone through it. I mean that, which I was kind of bummed because we were talking about the Emmy stuff the other day with someone, and I just felt like it would’ve been so great to go because we could have shared that experience together. I felt like it was team. Like there was a team of women. I just felt like they were slighted. You know what I mean? To tell you the truth, I was in a bad mood for days after the Emmy nominations came out and you were snubbed. That’s really sweet. I felt like all of my friends were calling me saying, “Oh, Johnny’s going to ask you to prom,” you know? And Johnny never asked me to the prom. So it’s like, you know, “Fuck Johnny.” You know what I mean? I really felt like that. I was like, “Dammit, I thought I was gonna go to the prom.” I’ll make my own prom at home. Yeah, it sort of felt like high school. Like, “Oh, you didn’t get asked. Sorry.” At least the anticipation and the idea of the nomination must’ve been fun. Oh it was great! Every single thing we’ve done has been so much fun. The Critics Choice Awards, they were the best night of my life, careerwise. So no, I’m kind of joking about the Emmy thing. But every single thing we’ve done—I’ve met so many great people this past year. So being able to do this storyline has created such a great experience workwise and in my personal life. Are you guys at Parenthood noticing how much this show’s popularity has grown each season? It’s a pretty rare thing. We are. We really are. Every single year we get more and more fans. And I think that the fans are the ones keeping us on the air, honestly. I just feel like it's a show that you haven’t seen on television in a long time. People look forward to watching this. And they look forward to crying while watching it. I feel like its just therapy for some people. Like they want to cry so they watch our show just to get out a cleansing. A weekly cleansing of their soul and their emotions. It’s true! Honestly, if there’s an episode that I don’t cry during, I feel robbed. Right! And you know all of us—I don’t think we try to do that. It just sort of happens within the writing sometimes. So it’s kind of cool when it’s sort of like everyone cries together. Is there a scene from Kristina’s cancer arc that sticks out in your mind? My favorite scene was the scene where I was dancing with Max. We were able to add little things along the way. Like before he comes down the stairs and I looked at him in his shirt about to go to the dance. I might start crying right now thinking about it. It was so sweet the way it was written. As it was originally, I was sitting just reading a book and I said to the props guys, “Why don’t we get photo albums that I can be putting photos into.” I feel like that was my favorite scene. It was bittersweet. The toughest scene was probably the video to the kids. That one sucked. I was crying. Let’s talk about the season premiere. I can’t believe Kristina is running for mayor. I know. I was like you guys are you freaking kidding me? Running for mayor? She just had cancer. They were laughing. They were like that’s why she’s running for mayor. I didn’t get it at first. Now it makes sense. She’s seizing the day and wanting to go after her dreams. That’s where it comes from. Not from believing that she’ll be the best mayor. But that she can effect change and help people and all that. So it’s sort of—it’s sort of one of those things where she feels empowered because she was able to beat cancer and this is something that she’s always wanted to do. How much of the cancer storyline from last year will bleed into this season? That’s a good question. I feel like it’s always there. It’s the elephant in the room. It’s never—it’s referred to, but this is the year of celebration, I think. But also being a little introspective and finding her true voice and what she wants to do. So I don’t think there’s that heaviness anymore. I feel like she feels free and that she’s able to become who she’s always wanted to become now. Whether it’s running for mayor or doing things differently. She used to be so uptight the first few seasons. Oh my God. I’m like, You need to take a valium, or something. She’s such a Type A personality. I would get annoyed with her—like, oh my God, stop it. But I think now, she’s still Type A but she’s a lot more relaxed. READ THIS LIST1‘Parenthood’s Weepy WeaponKevin FallonAboutAdvertiseContactJobsHelpPrivacyCommunity PolicyTerms & ConditionsCopyright & Trademark© 2016 The Daily Beast Company LLC

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HOME ABOUT IN DEVELOPMENT MAXED OUT WHY JOHNNY DEPP? COMPLETELY INCOMPLETE UNFILTERED SCARY TALES ESCAPE FROM TM TOWN CONTACT CORPORATE REEL Completely Incomplete Story by Jeffrey Hirschberg and Mark Williams Screenplay by Jeffrey Hirschberg COMPLETELY INCOMPLETE is a new kind of romantic comedy... a love rectangle. The story centers on an unlikely couple �€“ Jessica (New York�€™s most eclectic Psychologist) and Ken (New York�€™s most conceited Psychiatrist). Both specialize in couple�€™s therapy... and that�€™s the end of their similarities. Added to the mix is the city's �€œIt�€ couple �€“ Ryan and Gina. Jessica and Ken have been forced to work together to solve their marital problems. Unfortunately, Ryan and Gina have much more baggage than meets the eye. The tone of this irreverent, fast-paced comedy is reminiscent of "Sideways," while the banter between the four main characters is akin to the Tracy�€“Hepburn classics of yesteryear. The Hero There�€™s only one marriage counselor in New York City who has a six-month waiting list. Only one who handles the rich and famous like children. Only one who is a regular speaker at the country�€™s most prestigious universities �€“JESSICA REBBEL. After earning a Ph.D. in Clinical Psychology from Stanford, Jessica returned to New York City where she opened a small practice in Brooklyn Heights. It was during this time when she developed her unique style of therapy �€“ breaking down conventional wisdom and creatively solving problems. Whether she used play therapy, art therapy, spent time at her patients�€™ places of employment, or even moved in with them, Jessica had an uncanny knack for results �€“ especially in the area of couple�€™s therapy. Her greatest flaw? She has always been a perfectionist of the highest order �€“ to her detriment. The Nemesis KEN PRESS is a relatively famous psychiatrist in New York City. In the minds of the psychologist community, however, he is relatively infamous. Some would say Ken never met a psychologist he liked. Most would say he never met a psychologist who liked him. And Jessica was no exception. In medical school, Ken was so intent on being the top of his class to obtain a surgical residency (like his brother), he developed more than his share of ulcers and ultimately was relegated to a life of psychiatry �€“ a profession his family equated to social work. If you think that explains Ken�€™s disdain for psychologists, you�€™re right. And with her unorthodox therapeutic tactics, Jessica was one of his favorite targets. The Love Interest The likable and humble RYAN McDONALD was born into a successful family business. His grandfather started a brokerage firm in the 1920s that grew into McDonald and Associates �€“ one of the premier financial services firms in New York. So, Ryan devoted most of his childhood to learning the business. The problem was his heart was never in it. At age thirty, he founded a dot-com that went public �€“ leaving him with over a billion dollars. His Wife GINA PUTNEY was born in Utica, NY to a family that was as dysfunctional as they were poor. It was a no frills, unhappy household with apparently no way out. After graduating from U.C. Santa Barbara, Gina moved to New York and joined the same software company as Ryan. Eight years later, she got a job at a small cable channel and rose to the rank of President. So, he ran a dot-com; she ran a cable network. They became, in a word, �€œimportant." And they were in love. Presumably, forever. Or so Ryan thought. After five years of marriage, Gina dropped a bombshell on her unsuspecting husband �€“ she wanted a divorce. And that�€™s what brought Ryan to Jessica... TV Film Digital ThreeAct Partners © 2016 ThreeAct Partners LLC 585.317.3909 | jeff@threeact.com

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Rob Zombie's Halloween II Discuss/Grade Thread Discussion in 'TV & Media' started by nx1701g, Aug 29, 2009. Grade H2 If Zombie had done something like "High Tension" and made Laurie the killer all along in the sequel I think I would've liked it better. And her shadow shelf takes on the guise of Michael. I think that would've been a worthy sequel. Back to the first film, I liked the attempts to humanize Michael. I think they showed he came from an abusive home-at least verbally abusive, and he anger issues, and took out his frustration or rage on animals, which could be some indicators of possible antisocial personality disorder. I think there was more behind his killing his family than boredom. They seemed to be holding him back, restraining him, insulting him, abusing him, and he just got tired of that. He let go, and he did it in a very violent way. I think his violence was about taking control, trying to assert power over his own life, and other the lives of others. I think he wanted people to fear him. For me, I just never got the indestructible, evil incarnate Michael from the old films. At least with the other icons of that era, Freddie, Chucky, Pinhead, and Jason, there was some supernatural explanation to explain why they kept coming back again and again. But with Michael? He's just too evil to die? That didn't work for me. Though I did enjoy Donald Pleasance's pontificating about it. He really knew how to build up to an epic confrontation, something McDowell's Loomis unfortunately didn't do. JacksonArcher said: Yeah okay but maybe if the physical stature of Myers resembled a woman had that idea been executed that might have been conceivable on some idiotic, contrived level but does anyone buy Laurie Strode as a hairy hippie behemoth? I mean, seriously. Unless Laurie imagined herself as Myers but it still makes absolutely no sense given the context and reality of Zombie's story.Click to expand... No sense at all. She'd have to imagine she was Michael imagining his mother, whom she's never met. She doesn't even find out she's his sister until the last third of the movie. But speaking of the end, in that last shot of Laurie grinning at the camera, do you think Zombie was paying homage to Psycho, or just plain ripping it off? I'd like to think it was the former, but it's a weird choice to pay homage to another movie with your final shot. Spaceman Spiff, JacksonArcher I instantly thought of Pyscho. I thought it was a not-too-subtle homage, especially since Laurie outright smiled, whereas Norman Bates smiled in a more subtle way (in my opinion). Why was the room so long? I gathered it was in Laurie's head, as was the apparition of Myers' mom and the horse, but that's my main problem with Halloween II: Zombie paints the first film and this one, dream sequences aside, as a very realistic, gritty horror film. The inclusion of the dream sequences -- which somehow Laurie can see by the end of the film -- ruin that. I was confused a lot during the film as to what was suppose to be real or dreamt up, and not in a good way. JacksonArcher, Well, it looks like Patrick Lussier's been confirmed as the director of Halloween 3D. It says they're planning to begin filming in November for a summer release. Doesn't that seem a bit too soon? As reviled as this movie was, and with its disappointing box office take, you'd think they'd want to let it lie for a couple of years before trying again. It's also reported that Todd Farmer will be writing the movie. I enjoyed My Bloody Valentine 3D on a pure "it knows what it is" level, though the ending was dopey. But his other credits include the lackluster The Messengers, The Messengers 2: The Scarecrow and, uh, Jason X. Well, here's hoping. Hmm. I guess I need to see My Bloody Valentine now. It does seem a bit soon. Why summer? Wasn't My Bloody Valentine released in the spring? The Final Destination was released in August. I miss when horror films came out around, y'know, Halloween. That's excluding those Saw films, of course. At least I have Trick 'R Treat to look forward to. LIKE LIGHTNIIIIIIIIIIIIIIIING Lussier's also the genius behind such masterworks as Dracula 2000 and its sequels. Guh. Timby, The news about Halloween 3D doesn't exactly fill me with confidence. I'm not sure if Lussier will be a better or worse choice for the series than Zombie was. I still haven't seen this one yet... don't know if I will, especially after everything I've read about it. Eh, we'll see. Spaceman Spiff said: In most cases, one would think so, but considering Halloween II's rather low budget ($15 million), it's apparently done well enough to be labeled "profitable". JacksonArcher said: At least I have Trick 'R Treat to look forward to.Click to expand... I think you'll enjoy that one -- it's good fun. I saw a screening of it in Toronto last month; writer/director Michael Dougherty was on hand to introduce the film and participate in a Q & A afterward. It's a damn shame about how Warner Bros. has treated the film -- it should've come out two years ago, and at the very least been given a limited theatrical release. I just really don't get studio decisions sometimes.

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Exclusive: BEING HUMAN’s Mark Pellegrino Interview January 10, 2011 Being Human US, Interviews, News Seemingly one of the busiest actors working in television, Mark Pellegrino has brought us some incredibly memorable characters. He was the mysterious Jacob on Lost, the diabolical Lucifer on Supernatural, and Rita’s abusive ex-husband Paul on Dexter. Soon he will be vampire leader and Boston cop Bishop on Syfy’s new series BEING HUMAN, the American take on the current UK hit series about a vampire, werewolf, and ghost trying to find their place in the world. Daemon’s TV recently talked to Mark about playing Bishop and the challenges of re-imagining a popular British series, as well as about his thoughts on how Lost ended and why Paul maybe wasn’t such a bad guy after all. Now, ‘Being Human’ starts on January 17th on SyFy? Mark Pellegrino: Yes. It’s being billed as a re-imagining of the British series. Can you elaborate on what that means? Mark Pellegrino: Well, as far as I know it uses the original template and then jumps off at various points into it’s own original version of it where characters take very different turns than they did in the original version. That’s as far as that goes, as far as I know. Maybe like ‘The Office’ became it’s own version with it’s own kind of characters. I think something similar is in the offing for ‘Being Human’. What can you tell us about Bishop, the character you play? Mark Pellegrino: Bishop is a very old vampire. He was turned in the 1600s in England and came over to the New World before the Revolutionary War to make his bones and his mark in the world. He has become the vampire boss of Boston. The vampire world is kind of organized the way that the mafia is, in families that govern each other. He’s become the overlord of Boston, so to speak. He turned Aidan, one of the main characters of the story, and Aidan has since had second thoughts about his lifestyle and is trying desperately to change it and I’m trying desperately to bring him back in the fold. I’m assuming that Aidan is not the only vampire you’ve turned. What makes him so special that you want to bring him back into the fold? Mark Pellegrino: Well, I’m hesitant to say because I want people to find out a little bit more about it, but suffice it to say that Aidan is an extraordinary character and has the brawn and brains to achieve my ends the way that I need them to be achieved, in addition to a couple of other things that I don’t want to say because I think they’ll be revealed in the show. Now in addition to being a vampire leader you’re a cop, correct? Mark Pellegrino: I am a cop, yes. I’m a Lieutenant in the Boston Police Force. I live right near Boston and that cracks me up. I can almost see it happening. Mark Pellegrino: You should look at those cops closely now. One of the best things about the UK series is the cast chemistry. How has the cast in the North American version gelling? Mark Pellegrino: We’re all friends. In fact, we’re all going to Maui together in the middle of February, and Sam Witwer came over to my house and installed wif-fi through my Xbox. And Sammy Huntington grew up in Hancock, New Hampshire and my wife and I went to Hancock, New Hampshire to the Inn that he recommended and stayed there for the night and got together with him and wife, Rachel, in the morning, but we’re all really, really good friends. I would say that the cast is really gelling. You guys shoot in Montreal, right? Is that something that naturally happens since you’re all away from home together? Mark Pellegrino: You do tend to get really close to the people that you’re working with and they become a second family, and then normally what happens is the second that wrap party is over you’re not really talking to them again and you just live separate lives until you see each other again and then it’s like, ‘Whoa. Hey, what’s up?’ And you’re picking up from the last wrap party. But these guys are different. I feel like we’ve made arrangements to see each other after the show and we keep talking and texting and enjoying each other. I think that these guys are definitely not the typical, run of the mill folks. We’ve become a family and it’s kind of going to stay that way. Is it fair to say that Bishop is a complicated, grey area type of character? Mark Pellegrino: I definitely think that. What I think is great about the show is that everybody is grey. I mean, there’s no archetypal character in the show. Everybody has issues and you can kind of relate to everybody, even the villainous. I’m suppose to be villainous, I guess, but you can relate to me and you understand what I’m going through and hopefully empathize with my point of view. I think that everybody has those moments of grey. Well, you had us empathizing with your character Lucifer on ‘Supernatural’ – Mark Pellegrino: Poor Lucifer. He gets a bad rap. Even Rita’s ex-husband, he certainly wasn’t the best guy, but he was telling the truth – Mark Pellegrino: You know what, I let the people who are watching the story judge for themselves, but for me Paul was trying to get his family back and that was his interest. He might’ve done it in a really crappy way and was totally misguided, but he loved his wife and he loved his kids. He didn’t know how to deal with a lot of things appropriately, but in the end really wanted to save them from this guy. I think that Lucifer, the same thing, his story of betrayal. For Bishop, too, there are a lot of very strong moral themes that guide Bishop’s behavior and some people would think, ‘Really?’ But for me there’s a case to be made. Did you know that Jacob is the third most popular baby name this year? You must take some credit for that – Mark Pellegrino: Wow. I hope I can. I’m going to even if I shouldn’t. Coming onto ‘Lost’ and playing the character of Jacob, what was the biggest challenge for you? Mark Pellegrino: I think the biggest challenge was flying blind. I had no idea what the end was going to be and no idea what my character was, where he came from and what his intentions were. All of that was kind of revealed to me as I was going along. So there were times when something would happen after I’d already shot three episodes and I’d say to myself, ‘God. I wish that I knew that.’ I don’t know that it affected anything. It all kind of worked out the way that it needed to. Even that challenge of not knowing also became a really great asset because from an actor’s point of view one of the biggest pitfalls is to play ideas and I didn’t have to play ideas because I had none, other than little hints here and there given by Jack Bender. He’d just say one or two things that I thought guided me in a direction. Other than that it was just dealing with every scene on it’s own. Did you have a favorite scene? Mark Pellegrino: For me, I just love the scene where the Man in Black and Jacob are first coming together and you see Jacob for the first time and there’s this mysterious kind of standoff between these characters, and you’re kind of gob-smacked by the fact the guy talking is the Jacob you’ve been waiting for all this time. I like that so much because it’s so simple. It’s such a simple little gunfight between these guys that we get to know a lot about later on. You and Titus Welliver had a great chemistry, the Man in Black and the Man in White, but you were both grey and it was beautiful onscreen – Mark Pellegrino: Oh, thank you. It’s hard not to have a chemistry with Titus because he’s such a great guy and he’s just really, really cool. So you’d have to be an extraordinary screw up not to get along with him. He’s so good and so talented and he brought such a gentleness to the part and that’s the great thing about ‘Lost’, yeah, like you were saying. There is so much grey and everybody has sin and something to overcome and be redeemed by. I found that extraordinary for Jacob because I thought that Jacob was a kind of Christ like figure and then I find that in his history there’s a lot of messiness here that he has to atone for. It was disturbing and at the same time really thought provoking and it really made me think, ‘Wow. These guys Damon [Lindelof] and Carlton [Cuse] know how to write. Were you happy with Jacob’s arc when it was finally resolved? Mark Pellegrino: I was. I thought that the end was really fulfilling for me. I thought that it was emotionally fulfilling and I thought that it had some really beautiful things about redemption. It was really emotional for me, watching it. Did you feel the same way? I was sobbing. Mark Pellegrino: Yeah, through the whole thing practically. Yes. It was beautiful, and of course I’m a dog lover and they had to kill me at the end with Vincent – Mark Pellegrino: I know. Didn’t that destroy you? I know, I’m a dog lover, too, and I was bawling, just bawling. I’m one of the fans who loved the ending even though there’s a split in the fandom – Mark Pellegrino: There really is, but that split I think is part of the beauty of the show and part of what makes everybody so intimately involved in it. For a long time afterwards they’re going to be discussing it, thinking about it, debating it, turning it over in their minds. In a way that raises the level of the show to a bit of an artistic piece and not just a TV show. Is it easier to join a show like ‘Being Human’ in the beginning of the show rather than on season five? Mark Pellegrino: Like everything there’s good and bad, and to me, starting any show can be nerve racking. It’s definitely great to get in the midst of it and find your rhythm with everyone else. That’s great, but there’s the expectations of, like, ‘Oh, we’re all carrying this show and lets hope that it goes well,’ and the nerves associated with that once you get into the process. Coming into a show I’m intimidated in a way, all these great people have been working for a long time and now I’m coming into the family and am I going to be accepted. That also goes away when you start dealing with the problems of the scene and trying to make it come to life. So I guess the long and the short of that is that it’s good and bad. This show could be like ‘Lost’ and ‘Supernatural’, a big cult hit, but there is a bit of backlash though due to there already being a UK ‘Being Human’ and this show’s differences. How do you deal with fans because some fans are ardent? Mark Pellegrino: It doesn’t affect me. I understand it completely. I was one of those British version of ‘The Office’ guys and I was so upset even though Ricky Gervais was in on the creative process when ‘The Office’ came here. I boycotted it for the longest time because I was such a strident ‘Office’ guy and then I started watching episodes of it and discovered that it was its own thing and that it shouldn’t be really considered in the same category in a way. It was it’s own show with it’s own style and it’s own sense of delivery. They did it really, really well and as long as I took it as a separate entity which was hard at first and will probably be hard for the people who have preconceived notions based on the BBC version, but once I started taking it as an independent entity it was just really, really funny in it’s own way. It wasn’t the same as the British ‘Office’, but it was just as good in its own way. Do you have a dream role, a character you want to play or people to work with? Mark Pellegrino: I’ll tell you what, I am dying to be on ‘Walking Dead’. Not only because I love Frank Durabont, but because I’m a huge zombie apocalypse fan and I’m dying to be in a zombie apocalypse story. So that’s kind of what I’m dying to do at the moment, but there are tons of directors and people that I would love to work with in features and in TV and there’s probably not enough time in my lifetime to work with all of them. Besides ‘Walking Dead’ are there any other shows that you’d really enjoy being on? Mark Pellegrino: I like strange shows like ‘Its Always Sunny in Philadelphia’. It’s a funny show. Funny and eclectic. I love ‘Bored to Death’. That would be a good show to work on. I think it’s my favorite Ted Danson role – Mark Pellegrino: Oh, my God, he’s great on it. Being Human premieres on Syfy Monday, January 17 at 9pm eastern/8pm central. You can find all of our Being Human coverage here. Follow me on Twitter @michstjame Share this:Click to share on Twitter (Opens in new window)Share on Facebook (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Google+ (Opens in new window)Click to share on Tumblr (Opens in new window)Click to share on Pocket (Opens in new window)Click to email this to a friend (Opens in new window) Being Human USInterviewsMark PellegrinoSupernaturalSyFyAbout The AuthorMichelle Michelle is a freelance writer and editor who became addicted to television by watching soaps with her grandmother at age six. She is pickier now, but not by much. Her free time is spent either watching TV or reading a book—often both at the same time—and the Kindle and Tivo are her all-time favorite inventions.Related Posts Killjoys “Full Metal Monk” Review (Season 2 Episode 8)

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PRESS NOTES: GO TO THE SOURCE It’s often said that there’s never been a movie quite like Alain Resnais’ Last Year at Marienbad. But in paying tribute to this French New Wave landmark on the occasion of its release in Criterion DVD and Blu-ray editions, some critics have noted that its unique style has been so influential on other films that it now might seem . . . strangely familiar. This “graceful, haunting movie puzzle . . . , photographed in widescreen black and white by the great Sacha Vierny,” has “a visual texture that has exerted an influence over everything from Roger Corman’s Edgar Allan Poe adaptations to Ridley Scott’s commercials,” writes Dave Kehr in the New York Times. And in his Los Angeles Times review, Dennis Lim adds to the list of descendants of this “sumptuous . . . unrivaled conversation starter”: “You can detect its imprint in the death-haunted reverie of Chris Marker’s La Jetée, the mazelike structures of Peter Greenaway’s puzzle-box films, the sinister corridors of Stanley Kubrick’s The Shining and David Lynch’s Inland Empire.” (The L’s Cullen Gallagher also picks up on that Kubrick connection.) IFC’s Michael Atkinson, however, sticks with the source, writing that “Resnais’ saturnine masterpiece remains exactly the film experience it was originally intended to be: a dream inside a puzzle inside a story that never actually takes place. Is there a better, more eloquent way to define movies?” And Time puts it most simply, on its “Short List of Things to Do”: “It’s still ravishing, confounding, and fun.” Related: At Paste, Sean Gandert takes a closer look at Resnais’ documentary shorts legacy, specifically two works featured on Criterion’s Last Year at Marienbad editions: Toute la mémoire du monde and Le chant du styrène. Update (15 JUL 09): Critic John Powers appeared on NPR’s Fresh Air to review Last Year at Marienbad. Click here to listen. Press Notes Posted on July 03, 2009

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TV ShowsCSI: Miami Follow/FavFlinch By: Denaliyasha All suicide is selfish, but Hagen had been more selfish than most. My version of events after the season finale. In my world, they got the bombers without Hagen, so he killed himself after and Horatio didn't know until later. Rated: Fiction T - English - Drama/Romance - Words: 1,519 - Reviews: 6 - Favs: 8 - Follows: 3 - Published: 5/31/2005 - Status: Complete - id: 2416055 + - Full 3/4 1/2 Expand Tighten Disclaimer: Not mine.A/N: I didn't really know what to do after the season finale… until I saw Lost Son tonight. NOW I have an idea. SO! IMPORTANT! THEY GOT EVERYONE WHO WAS BUILDING THE BOMB BEFORE HAGEN SHOT HIMSELF, AND SO HORATIO PUT HIS FAMILY ON THE PLANE WITHOUT KNOWING ABOUT HAGEN! Have I made myself clear? This is my twisted world. Deal with it.Flinch "Caine." Horatio answered his phone, watching the plane containing his brother's family fly off."Horatio?""What's up, Alexx?" Horatio frowned slightly. Alexx sounded really worried."Horatio, Hagen shot himself.""What?""Yeah. He was dirty. And he couldn't take it any more, so he killed himself." There was a pause, and then, "Horatio, he killed himself in the lab.""Where?" He had a bad feeling about this…"In the firing range.""The firing range?""Yeah. Right behind Calleigh.""What?" He was reduced to asking questions, but he was struggling to comprehend the whole matter. Hagen shot himself while Calleigh was there?"He came to talk to Calleigh, and then he shot himself when she turned back to shoot.""How's she doing?" He was heading for his Hummer now, a blind notion that he had to find and help Calleigh directing his body."Horatio… she wants to quit. She was fine until she went back to the firing range to shoot. They didn't clean the ceiling, and part of Hagen's brain was up there, dripping blood on her sleeve. It pushed her over the edge, I think.""Where is she?" He started the car, pulling out of the hangar."She went home. Horatio, she needs someone to talk to.""Don't worry, I'm on my way.""Calleigh?" The voice that accompanied the persistent knocking on her door was familiar, and she managed to force her mouth to work."It's open.""Calleigh?" The voice was closer this time, and it's owner knelt down in front of the couch she'd been sitting in for several hours."Hey, Handsome." She tried to smile, but it didn't come across as cheerful, just sad."Calleigh, Alexx told me what happened." He reached a hand forward, tentatively. "I'm not even going to bother with 'are you ok'.""Thanks." She sighed and closed her eyes. "Everyone's been asking that. I just want to start yelling 'What do you think?' back at them.""Well, they're just trying to help. It isn't their fault they don't understand." That got him a tiny half-smile, and so he continued. "Hey, just hang in there, ok?""That's what you said when…" She couldn't finish her sentence. Leaning forward, burying her face in Horatio's shoulder, Calleigh sobbed. She was crying for herself, for Hagen, for Speed, for everyone whose murder weapon she'd ever processed… In jobs such as theirs, pressure has a tendency to build up. Burn out is common, and the ones who stick around usually have a great way of relieving stress. Calleigh's had been taking her gun down to the firing range and shredding targets. Now, she couldn't do that without imagining the click of that pistol cocking, the eerily loud smack the blood had made dropping onto her coat, the red against the white…Horatio wrapped his arms around her back, pulling her closer as she cried her pain out onto his shirt. He remembered how hard it had been to watch Speed die, but he hadn't killed himself nor, in death, taken Horatio's last safe haven. He knew suicide was always selfish, but Hagen had been more selfish than most. He'd ignorantly stripped Calleigh of the only thing that could help her deal with his death, and for a moment Horatio wished Hagen had survived simply so he could have the pleasure of killing him personally.It was hurting him too, though, to watch Calleigh in so much pain. He hadn't been there for her… he'd been off comforting Yelina and had forgotten about the person who meant the most to him. Making small shushing noises, he stroked Calleigh's hair as he internally berated himself for not being there when she had needed him. That was NOT going to happen again. But what if she quit?"Hey, Beautiful?"She didn't raise her head, just mumbled into his shoulder. "What?""Alexx said you wanted to quit."She pulled up a little to look at him. "I have to, Horatio. I can't do my job any more. I can't force myself to use the firing range, to pick up a gun and squeeze the trigger… I could, and then blood started dripping from the ceiling. Now, every time I pick up a gun, I hear his pistol cocking. He was the one who held the gun to my head, Horatio. I picked out the make of gun from the sound it made when cocking, and then I heard it again and in a split second I knew… and then it went off." She shuddered. "I can't go in there, I can't." She dissolved into tears again."Hey, hey, it's alright, shhh…" He slowly rocked them back and forth. "How about you go on leave until after his funeral, then we'll talk about this again, ok?"She watched them fold the flag, perfectly creased into a much smaller size. Handed over to Hagen's mother, it seemed to unimportant to be the symbol of death that it really was.The other group off to one side raised their guns, and fired them once. Calleigh flinched. It was too like… and then she cut off that train of thought and turned to Horatio. He wrapped his arm around her shoulder without needing to be asked.Again, he wanted to kill Hagen. Calleigh had been far from innocent, but she hadn't been anywhere near as numb as she would have to be to survive something like this intact. He could practically see the open wounds on her soul. She'd told him that she felt responsible for Hagen's death, when she'd brushed him off and picked up her gun again. It had taken him the full week and a half since the suicide to convince her she was wrong, and even now she was teetering on the edge."Hey, Beautiful, let's get out of here." His hand went to the small of her back, and he led her towards Hagen's mother so they could pay their respects and leave.Once they were safely back in the Hummer, silence reigned. Calleigh was staring out the window, not even noticing that they were back at the lab."Come on, Calleigh."Horatio helped her out of the car, his hand on her back again, guiding her through the hallways. She didn't say anything until she realized where they were headed."No, Horatio.""Trust me, Calleigh." He gently pulled her through the doors of the firing range, signing them both in quickly as he coaxed her forward. "Trust me. We're just going to stand there. I promise, Calleigh. I don't want to lose you, Calleigh, let me help you work through this." Finally, he got her into the booth. "Look, Calleigh. Look up. There isn't anything there. You can do this, Calleigh, you can feel comfortable here again."She looked at the gun on the counter in front of her, then picked up a set of padded headphones and put them on, not noticing that he mimicked her. She continued to stare at the gun, running one hand gently over it, taking in the make, the caliber of the bullets, the size, the shape. After a few minutes, she managed to convince herself to pick it up, but she couldn't point it. About to set it down again, she was surprised to feel a pair of arms wrap around her, a set of hands on her wrists. Horatio had stepped behind her and slipped his arms around to the gun, helping hold her hands steady so that she could fire at the target that dangled from the ceiling."You can do this, Calleigh. Come on." He was whispering in her ear now, sending shivers down her spine, and she wanted to do what he asked so badly… "Fire, Calleigh."Without thinking about it, she did. The noise sounded deafening, but a hole appeared in the target, right in the heart. She set the gun carefully down, removed her earphones, and turned around in Horatio's grasp. He leaned down and brushed his lips gently across her forehead. She leaned into the caress, then looked up at him."When do you need me to start again?"A/N: Ok, this seemed a little out of character, but I think that once Calleigh is away from everyone, she'd have the same weaknesses as everyone else… and I really hope she isn't gone for good, cause she was the reason I watched the show.

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Photo credit: Andrew Boyle ‘Girls’ and ‘Girls, But With Gay Dudes’ Come to HBO in January | By Tyler Coates | October 16, 2013 The long-awaited (for those of us who want to watch Alison Williams spinning, at least) third season of Girls premieres on January 12, which means we’re only a few months away from Lena Dunham Think Piece season. I can’t wait! But more importantly, the same night will bring the premiere of Looking, a new series created by Michael Lannan and starring Jonathan Groff. Looking centers around a group of gay men in San Francisco “who explore the fun and sometimes overwhelming options available to a new generation of gay men.” Sounds like ladybloggers are going to have to read a bunch of personal essays about gay dudes are depicted on TV now! Just kidding, they’ll probably continue not to care.

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Anthony Mackie on Playing The Falcon in CAPTAIN AMERICA 2 MovieCaptain America: The Winter Soldierabout 3 years agoby Joey Paur Not much is known about the role The Falcon will play in Marvel's upcoming sequel Captain America: The Winter Soldier. Anthony Mackie plays the character, and in a recent interview with AICN the actor opens up about the role, and talks more about it than he's ever talked about it before! He starts off by talking about his wings... I will have wings. I will be able to fly. I will be a superhero and fight people, namely The Winter Soldier. Mackie went on to talk about researching the character to prep up for playing the part, It was funny; a lot of the research I found was online. My older brother was a huge comic book buff. So when the news came out online, he called me and just gave me the whole rundown. Luckily, I have a lot of friends who weren’t cool growing up, but who are really cool now, so they read a lot of comic books. So I would just call and ask them, and they would send me all of this stuff online, and I got to read a bunch of the old comic books. It’s fortunate, because it’s a take off the comic book, it’s not the exactly storyline of the comic book. He's then asked if his character in the movie would include his pet falcon Redwing to which he replied, Man, I told you I can’t talk…[laughs] This is the first job I got asked to do first, and you’re trying to get me fired first. I have no idea what you’re talking about. Of course Mackie isn't going to say anything revealing because he would like to keep his job, but I believe that Redwing will be in the film. This is what I learned about franchises. They can always cast somebody else and say, “Well that last person died,” or just not address it. You see the second movie, and the guy is a different guy than the first, and they're like, “Yep, same dude to me.” "I am very happy to be here." [said in Eddie Murphy's COMING TO AMERICA voice.] Mackie went on to confirm that the film starts shooting on April 1st, and I'm excited to see how it turns out. I loved the first movie, and I'm sure the sequel will end up being even better. Chris Evans will be reprising his role as Steve Rogers/Captain America, and Frank Grillo will play Crossbones. Samuel L. Jackson will be back as Fury, Scarlett Johansson as Black Widow and Cobie Smulders as Maria Hill, and Sebastian Stan as Bucky Barnes/The Winter Soldier.The movie is set to be directed by Anthony and Joe Russo, and is set to hit theaters on April 4th, 2014. theMulticast: Why Illumiroom Blows and Steam Box RulesSTAR WARS Typographical Drive-In Posters and More Follow GeekTyrantGeekTyrant on FacebookGeekTyrant on TwitterGeekTyrant on YouTubeGeekTyrant on TwitchGeekTyrant RSS Feed

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Wrapping up Sundance 2012 – Part 2 January 31, 2012 Just when I thought I was done with Sundance, I get a comment from a reader posing several questions that seem not only thoughtful but relevant. So allow me to take up one more column here to answer them. The reader’s name is Dennis Hermanson, from Hillsborough, N.C., and he refers to himself as “a guy who loves film, and has never been” to Sundance. Responding to my description of my Sundance experience – in which I seemed to spend all my time either watching movies or in line to watch movies – he asks: “Why can’t you see the films in a way that allows you to study them? Or is the audience an integral part of the commercial aspects of the event itself?” And then he adds: “It just seems that serious film critics/writers such as yourself are really put through a wringer, almost on purpose.” The idea of studying a film while watching it for review seems a little foreign, if by studying, he means taking the time to watch it over and over or to examine and reexamine key scenes. I’ve always felt that the critic should write a film review from a viewing experience comparable to what the audience will see. In other words, most people who buy a movie ticket don’t see the movie twice – or stop, rewind and restart on a DVD – when they see it. Ideally, the critic is watching with the same intensity of purpose as the filmmaker had when he was making the film. I didn’t agree with the late Pauline Kael about much, but I did concur when I heard her say one time that she never sees a movie twice before reviewing it because the audience doesn’t have that opportunity. Hopefully, my review is describing my experience in a way that’s helpful for the viewer. As for watching with an audience, well, I’m not reviewing the audience. I can only write about my reaction – not the audience’s. Film companies seem to believe that forcing critics to see their films at “all-media” screenings – in which critics watch the film with ordinary film-goers who got free tickets to see an advance showing – will somehow change the way a critic experiences a film. It doesn’t. At Sundance (or Toronto, for that matter), I’m either seeing a film in a theater full of press and industry people or with a festival audience. And those audiences can be as sophisticated – and as harsh – as any group of critics. And “put through the wringer”? Well, that’s the nature of a festival, in a sense, whether it’s a music festival – with one act after another – or a theater festival, with one play after another. The idea is to immerse yourself in the work; hopefully, the good ones stick with you and the bad ones don’t. Dennis also asks: “Would you get on a … list and get or download copies of all the films without going to Sundance if you could?” To be honest, yes. If someone offered to let me stream all the Sundance films I wanted to see in the privacy and comfort of my home – without the expense and trouble of travel/hotels/meals during a week out of town – I’d jump at the chance. It’s about the movies, after all – about watching the films that will be part of the cultural conversation in the year to come. What would I miss if I could do it that way? Well, there’s the convivial atmosphere of conversation with colleagues, the give-and-take about which films to see and which ones to skip, the professional networking that’s always part of such an event. Still, while I’m all for the communal experience of sharing a movie with a room full of strangers, I can’t deny the appeal of the convenience of having my own little film festival at home. He also asks: “Will Sundance exist in 25 years? Is it ‘Cannes in the Mountains,’ a ‘you gotta be there’ experience for folks such as you, the seasoned professionals of film study?” I seldom try to predict the future. But as for the “you gotta be there” experience, whether you’re a professional or just a film buff, I will say that there’s nothing quite like seeing a great movie for the first time with an enthusiastic audience. But I don’t necessarily have to spend a snowy week in Utah to have that experience. His final question was: “What about all those great films that you saw that were overlooked at Sundance?” To which I have to say: Unfortunately, that’s the nature of the independent film scene today. I personally believe – and feel that experience has shown me – that the cream rises to the top. Good work will be seen. And yet there are so many films being made – and so many fewer theatrical opportunities for them – that the pipeline for good work has narrowed to the point of being choked. The one bright spot is the video-on-demand market, which is becoming the release venue for more and more films that come away from film festivals without theatrical distribution deals. Sundance Selects, Tribeca Films, IFC – all of these offer a way for smaller films to find their way from festivals to the wider audience. It’s a dual-edged sword, however. On the one hand, on-demand means that arthouse films can reach a much larger audience than they ever could in theaters. There are wide swaths of this country that don’t have theaters playing artier, riskier films; but almost everyone now has access to cable or satellite transmission, through which these films are available. On the other hand, these films still have to shake the stigma of “straight to video,” because critics tend to ignore movies that debut in the on-demand realm. It’s a form of prejudice that is slowly – very slowly – being broken down. Thus endeth the sermon – and the 2012 Sundance coverage.

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Larry King does some breakdancing for 'Phineas and Ferb' What has Larry King been doing since hanging up his CNN suspenders? The question is answered on the Disney Channel's "Take Two with Phineas and Ferb," the talk-show spin-off of the animated Disney series "Phineas and Ferb": He is practicing his headspins.Earlier this year, Show Tracker pondered whether Phineas and Ferb, cartoon brothers always looking for things to do on their summer vacation, were the new Larry Kings for the kiddie set. Apparently the suspender-sporting talk icon took note. He will appear as a guest in Friday's episode of "Take Two." The show has had some notable guests in the past -- Jack Black, Seth Rogen, Emma Stone, Tony Hawk -- who take to the couch for some probing questions from the cartoon brothers, but it's never had a fellow talk show host answer questions. Not only does King give Phineas and Ferb the secret to lasting success in the entertainment business, he also shows off some hot dance moves. There may have been a little bit of digital enhancement. Why isn't the new fall season more family friendly? Jennifer Lopez's talent show, 'Q'Viva,' heads to Univision TV recaps: 'Dancing with the Stars' -- Jevon Phillips Photo: Larry King on "Take Two with Phineas and Ferb." Credit: Disney

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Don Cheadle fired up over Rhodey's return in 'Iron Man 3' Tim Lammers, StrictlyCinema.com Published On: May 02 2013 06:54:15 AM MDT Updated On: May 02 2013 07:31:58 AM MDT Don Cheadle in "Iron Man 3." True, Don Cheadle helped convert one of Tony Stark's suits of armor into the powerful War Machine in "Iron Man 2," but when it came to the acclaimed actor's work with Robert Downey Jr. again for "Iron Man 3," the mantra for his working relationship with his fellow star was simple: If it isn't broke, don't fix it."There's nothing that really changes in our work dynamic. We're friends and we understand that this one is like the last one, but on steroids a little bit," Cheadle told me in a recent interview. "Nothing really changes as to how we work. I think it was pretty well established what we had to do and what the movie was about. We just need to show up and serve the storyline."While Cheadle's character, Colonel James "Rhodey" Rhodes, doesn't fix any of his weaponry, either, in "Iron Man 3," the exterior of the suit does undergo somewhat of an upgrade. The silver and black War Machine armor is repainted red, white and blue, and Rhodey is rebranded the "Iron Patriot."Unfortunately, one thing that didn't change was comfort level of his very elaborate costume. Looking like a life-sized action figure may sound cool, but it's not all it's cracked up to be, Cheadle said."I had the experience of doing this once before, so I knew it wasn't going to be cool to begin with," Cheadle said, laughing. "But look. It's what we have to do and I'm not going to complain. It's a lot easier than doing things a lot of other people have to do to make a living."Opening in theaters Friday in 2D and 3D, "Iron Man 3" picks up after the events of "The Avengers," where Tony Stark/Iron Man (Robert Downey Jr.) is having a tough time adjusting to the aftermath of New York City. Already teetering on the brink with anxiety attacks, Stark's world almost completely crumbles when the mysterious terrorist The Mandarin (Sir Ben Kingsley) destroys his home and work compound in a vicious missile attack.Left to start over from scratch, Stark discovers that the threat is much bigger than originally thought, and he'll need help from the likes of his of his old friend, Rhodey, to avert an imminent threat on the U.S. president's (William Sadler) life.The biggest transition for "Iron Man 3" came with the hiring of director Shane Black, who takes over the franchise after filmmaker Jon Favreau served at the helm of the first two.Black, who last directed Downey in the brilliant crime comedy "Kiss Kiss, Bang Bang," first burst onto the scene in 1987 with the screenplay for "Lethal Weapon" and helped define an enduring genre as a result."He really understands the buddy pic genre, and being able to do it on a much bigger canvas was a nice hybrid," Cheadle said.While acknowledging that switching out directors isn't always a good thing, Cheadle said that was definitely not the case with "Iron Man 3." Cheadle said Black came in realizing that the franchise was already well-established, and operations under the new filmmaker went smoothly."When we show up to work, we all know that the movie is bigger than all of us," Cheadle observed. "We were all just strapped in and held on for dear life as this huge juggernaut left the station. It worked out well. We weathered the changes just fine."One of the big changes for Cheadle is how Rhodey figures much more prominently into "Iron Man 3" storyline."It's a lot of fun because I have more to do in this one than the last one," Cheadle said. "The relationship between Tony and Rhodey is a lot of fun and their friendship gets a little stronger than it did in the last one. If this ends up being the last bite of the apple we have, then I'm glad that we went out on this note."

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Halle Berry's 'Heartbreak' Over Oscars Race Row The winner of the 2001 Best Actress Academy Award joins Jada Pinkett Smith and Spike Lee in criticism of this year's nominations. Video: Halle Berry Joins Oscars Race Row Actress Halle Berry has described the lack of diversity in Hollywood as "heartbreaking". Her comments come amid a deepening race row over the dominance of white actors in this year's Oscar nominations.Not a single black, Asian or Hispanic performer has been put forward for a Best Actor, Actress, Supporting Actor or Supporting Actress Academy Award.Ms Berry remains the only black woman to receive an Oscar for Best Actress, for her role in Monster's Ball in 2001.She said: "That win almost 15 years ago was iconic. Video: Are The Oscars Racist? "I believed that in that moment, that when I said 'The door tonight has been opened,' I believed that with every bone in my body that this was going to incite change because this door, this barrier, had been broken."And to sit here almost 15 years later, and knowing that another woman of colour has not walked through that door, is heartbreaking."It's heartbreaking, because I thought that moment was bigger than me. It's heartbreaking to start to think maybe it wasn't bigger than me." Video: Boycott Over All-White Nominations She blamed a lack of truthful storytelling in Hollywood, saying that it contributed to the lack of diversity."The films ... that are coming out of Hollywood aren't truthful," she said."And the reason they're not truthful ... is that they're not really depicting the importance and the involvement and the participation of people of colour in our American culture. Video: Jane Got A Gun Premieres In NY "When we really live up to our responsibility in Hollywood and challenge ourselves to be truthful and tell the truth with our storytelling, then people of colour will be there in a real competitive way and it won't be about inclusion or diversity because if we're telling the truth, that inclusion and diversity will be a byproduct of the truth and will naturally be there."Ms Berry's comments follow Will Smith, his wife Jada Pickett Smith and Spike Lee saying they plan not to attend this year's awards ceremony in Los Angeles.Concerns over the lack of nominations for non-white actors have also been expressed by Dustin Hoffman, Mark Ruffalo, and Matt Damon, among others. Video: Oscars Boycott The Academy of Motion Picture Arts and Sciences, organiser of the Oscars, says it plans to double its membership of women and minorities by 2020 through a programme of affirmative action that includes stripping some older members of voting privileges.

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Peter Moffett In the DWU Main roles: Main jobs: Main time period active: 1981-1984 (television)1999-present (audio) Notable non-DWU work: The Last DetectiveAll Creatures Great and SmallA Very Peculiar Practice You may be looking for director Peter Moffatt. Peter Davison (born Peter Malcom Gordon Moffett) portrayed the fifth incarnation of the Doctor from 1981 to 1984, beginning with the conclusion of Logopolis and ending with The Caves of Androzani. He reprised the role for the 1993 Children in Need special, "Dimensions in Time" and again for the 2007 Children in Need special, Time Crash. He has also voiced the Doctor for numerous Doctor Who audio dramas for Big Finish Productions. Davison is also well-known for his roles as Tristan Farnon in All Creatures Great and Small. Davison was born Peter Moffett in London. His father was originally from Guyana. He studied at the Central School of Speech and Drama and appeared in several stage productions and some minor television roles before he got his big break in 1978. His performance as the ne'er-do-well Tristan Farnon in All Creatures Great and Small made him a household name. He married American actress Sandra Dickinson in the same year, but they divorced in 1994. He and Dickinson had previously appeared together in the three-part story A Man For Emily in the ITV Sci-Fi series The Tomorrow People (1975) and together composed and performed the theme tune to ITVs Button Moon, a lunchtime children's programme broadcast in the 1980s. Davison made a cameo appearance alongside Dickinson as the Dish of the Day in the BBC television version of The Hitchhiker's Guide to the Galaxy (1981), whose producers considered it humorous for an actor known for playing a veterinary surgeon to appear as a cow. Davison also appeared in some British sitcoms, including Holding the Fort and Sink or Swim during his time as Doctor Who and later Fiddlers Three and Ain't Misbehavin, as well as appearing in dramatic roles. Doctor Who career Edit In 1981, Davison signed a contract to play the Fifth Doctor for three years, succeeding Tom Baker (the Fourth Doctor). Twenty-nine at the time of his first appearance in the series, Davison was the youngest actor to have played the Doctor in the series or in any BBC-sanctioned Doctor Who production. In 2010, he handed over this distinction to Matt Smith, who was twenty-six at the time of his début. Coincidentally, several of Davison's stories were directed by Peter Moffatt (only a slight variation from Davison's birth name, Peter Moffett), and, on the 2008 DVD release of The Five Doctors, Davison recalls friends thinking he not only starred in the show, but directed it as well. Attracting such a high-profile actor was as much of a coup for the programme's producers as getting the role was for him, but he did not renew his contract because he feared being typecast. Reportedly, Patrick Troughton (who had played the Second Doctor) had recommended to Davison that he leave the role after three years, and Davison followed his advice. In 2013, Davison also wrote, directed, and starred in The Five(ish) Doctors Reboot, a comical film released on the Red Button in which he, alongside Colin Baker and Sylvester McCoy, attempts to appear in the 50th anniversary Doctor Who episode, The Day of the Doctor. After Doctor Who Edit After leaving Doctor Who, he continued to appear occasionally on television, including an appearance on the American show Magnum, P.I. (following the lead of Tom Baker who similarly made a high-profile US TV appearance in Remington Steele after leaving the series). It was not until 1986 that Davison worked on another very popular series. He played Dr Stephen Daker, the ingenuous hero of A Very Peculiar Practice, written by Andrew Davies. The surreal comedy-drama was revived several years later as a one off TV film A Very Polish Practice. Davison also played the lead in another BBC production, Campion, a series based on the period whodunnits of Margery Allingham. This, and the opportunity to play Tristan Farnon again in 1985 and 1990 in the revived series of All Creatures Great and Small, kept Davison busy until the early 1990s. He also worked on several occasions with BBV Productions, co-starring with several other former Doctors in the SF film The Airzone Solution and he reprised the Fifth Doctor for the controversial Dimensions in Time special. In 1999 he appeared as the outgoing headteacher in Hope And Glory. He appeared with Mark Gatiss in a Reeltime Pictures-produced Doctor Who spoof, The Kidnappers, in which he appeared as himself (this skit was later included in the The Beginning DVD box set). In 1995 he presented "Heavenly Bodies" a six-part series about astronomy, broadcast on BBC1. This led to him being featured on the cover of "Practical Astronomy" magazine (Volume 1, number 5, dated March 1995). It was not until 2000 that he returned in another major role, that of David Braithwaite in At Home with the Braithwaites, which ran for four seasons on ITV. More recently, he starred in the television series The Last Detective (based on the Dangerous Davies novels by Leslie Thomas) (2003-2007) and Distant Shores (2005) for ITV, the latter where he coincidentally also played a doctor. In 2011, he took a major recurring role on Law & Order: UK. His daughter with Dickinson, Georgia Moffett, had a child while still in her teens, making Davison a young grandfather. Georgia auditioned for the role of Rose Tyler in Doctor Who's 2005 revival and also auditioned for a role in the 2008 episode, The Unicorn and the Wasp. She was cast as Jenny, the titular character in the Series 4 episode The Doctor's Daughter, which aired several months after her father's appearance in Time Crash. She also voiced a different character for the animated serial, Dreamland. She married the Tenth Doctor's actor, David Tennant, on 30 December 2011, meaning Davison is Tennant's father-in-law (a fact played up for laughs in The Five(ish) Doctors Reboot). Davison was also a regular in the BBC Radio 4 comedy series Rigor Mortis. In fiction Edit Peter Davison exists within the Whoniverse. During an adventure in which the Eleventh Doctor found himself in the "real world" where his adventures are the subject of a TV series called Doctor Who, he states that he once saved the actor from a Krynoid back in his own universe, noting that he thought he looked familiar. (COMIC: The Girl Who Loved Doctor Who) Davison also filmed a skit for an Australian news station depicting Davison and the Fifth Doctor being interviewed about the cast change from Tom Baker. This is not seen at TARDIS wikia as a valid source for writing. Peter Davison at the Internet Movie Database Violence & Vulnerability - Peter Davison article at Kasterborous.com Retrieved from "http://tardis.wikia.com/wiki/Peter_Davison?oldid=2059658" Articles that were originally Wikipedia forks Doctor Who regular cast Actors who portrayed the Doctor Actors who portrayed Kamelion Actors who appeared in 1963 and 2005 versions of Doctor Who BBV Productions actors The Five(ish) Doctors Reboot cast Actors interviewed on Doctor Who Confidential People interviewed on Doctor Who Live Big Finish Doctor Who voice actors Actors who have voiced for the Doctor Pre-2005 Doctor Who cast reprising their roles at Big Finish BBC Audio audiobook readers Hugo award nominees Laurence Olivier Award nominees Doctor Who actors that exist in the DWU People from the real world encountered by the Eleventh Doctor Performers of songs about the Doctor Who universe Actors who were credited in the Doctor Who opening titles

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HomeFilmMarkets & Festivals Leguizamo cast in ‘Happening’ Peter Gilstrap Shyamalan to direct film for 20th Century Fox John Leguizamo has been cast in 20th Century Fox thriller “The Happening,” directed by M. Night Shyamalan. Pic stars Mark Wahlberg as a man who takes his family on the run when a natural disaster threatens to end the world. Leguizamo plays his best friend. Lensing starts next month in Philadelphia. Fox has scheduled a worldwide release date of Friday, June 13, 2008. Leguizamo also stars in Spike TV’s “The Kill Point,” an eight-hour original miniseries that debuts Sunday. This fall, he appears in the screen adaptation of Gabriel Garcia Marquez’s novel “Love in the Time of Cholera,” directed by Mike Newell and set to bow Nov. 16. Also upcoming for Leguizamo is the release of indie “Where God Left His Shoes.” Written and directed by Salvatore Stabile, pic — which garnered buzz at this year’s Tribeca Film Festival — stars Leguizamo as a failed boxer struggling to find a job and apartment for his family on Christmas Eve in New York. Leguizamo recently wrapped production on two independent films: “The Take,” directed by Brad Furman, and “The Babysitters,” written and directed by David Ross.

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HomeFilmNews Bangladesh dials ‘Number’ for Oscars September 23, 2010 | 03:25PM PT Mostofa Sarwar Farooki's pic played Pusan Helmer Mostofa Sarwar Farooki’s “Third Person Singular Number” is Bangladesh’s submission in Oscar’s foreign-language category. The Bengali-language film is based on Syed Manzoorul Islam’s novel, “Tin parber jibon o kichhu bastab Case Study,” and looks at a woman who defies traditional Muslim culture by living with her boyfriend before marriage. When he is suddenly jailed, she must come to terms with how Bangladesh society treats single women as outcasts. Produced by Impress Telefilm, pic had its world premiere at the Pusan Film Festival in 2009 and went on to play this year at Rotterdam, the Afro-Asian-Latin fest in Milan and the Dhaka Festival where Farooki won best director. Farooki is the founder of Bangladesh’s avant garde cinema movement Chabial. Submissions for the foreign language Oscar must reach the Academy by 5 p.m. Oct. 1. Nominations will be announced on Jan. 25. The 83rd Academy Awards will be held at the Kodak Theater on Feb. 27.

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Desktop view Russia 88 Pavel Bardin Safe Cracker Pictures To appreciate fully the controversy surrounding Russia 88 (banned in cinemas across Russia), one must take into account that were it not for Mikhail Gorbachev’s Glasnost (openness) policy in the latter half of the 1980s, this film would never have been made. Set in modern day Moscow, Russia 88 follows a group of fictional neo-Nazis as they attempt to make propaganda videos designed to stir up racial hatred. Shot in a documentary style with an obvious nod to films like Romper Stomper and Man Bites Dog, the superb performances combine with a bleached, almost monochrome, Muscovite landscape to make Russia 88 a disturbing, uncompromising and above all, important film. The film’s bitter irony is a reflection on the relaxation of censorship and increase in individual freedoms that followed Glasnost, which also led to the rise of nationalism and a reawakening of simmering ethnic tensions. It is the concept of freedom as a catalyst for fear and hate, which is at the core of this complex, violent and often darkly funny film. Chris John Brooke RDA's debut album was recorded live and in one take, with the trio describing their sound as “over the top orchestral pop.” Staring at the X is Forest Fire’s second album following their acclaimed debut, Survival, which received high praise across tastemaking blogs. Burning Shapes These Things Happen offers such a perfect balance of guitar-rich up-tempo treats and laid-back melody that it's a surprise to discover it’s Burning Shapes' debut. Breathing (Atmen) A story of rehabilitation, Breathing doesn’t hammer home its theme of new life through death. Instead, it focuses on a young man with a Year Zero outlook. In this newly released recording of a 1985 Sonic Youth gig, the haunting vibrancy is more than audible. It’s easy to hear this and lose your mind to the dingy images of the Chicago music venue. Burning House Burning House effortlessly binds together a collection of songs a lot weirder than you could imagine from its composite parts.

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Print Email Font Resize'Bad Words' director Jason Bateman lives a teenage dreamBy Dan Zak, The Washington PostPosted: 03/16/2014 08:28:01 AM MDTJason Bateman's past lies in front of him, on a piece of paper, face down. Typewritten on the flip side is a quotation of his from 1987, when he was a teen idol starring in “Teen Wolf Too.”“Ugh,” he says, turning the paper over. “I probably thought I was pretty hot s— then.”The quote — first printed in the Hollywood Reporter, reproduced this February afternoon by the guy sent to write about Bateman — is hugely aspirational and brazen in its ambition, especially in the shadow of a quarter century gone by.He recites his own words softly, without emotion.” 'Teen Wolf Too' doesn't represent what I want to do in the future,” the bygone 18-year-old says through his present 45-year-old self. “I'd like to play a dramatic role like Timothy Hutton did in 'Ordinary People.' What a great vehicle that was. I want to be a great actor.”Pause.“I remember I was in the green room for Merv Griffin's TV show and it was full of stereotyped Hollywood people chattering away. Then the news was announced that James Cagney had died.”Pause.“Everyone stopped talking. They were touched by the passing of a great talent. That is the kind of career I want to establish.”Advertisement Jason Bateman, in his new film “Bad Words,” plays a boorish man-child who at one point smears ketchup on the chair of a middle school girl to cripple her with pubescent embarrassment during a spelling bee.“Bad Words” is not exactly “White Heat.”And its director is not exactly Robert Redford. It is Jason Bateman, making his feature film directorial debut.Bateman sets the paper back on the table, next to his non-fat dirty chai latte, in a corner of the bar at the Ritz-Carlton Georgetown in Washington. That 18-year-old is “somebody who clearly was more focused on respect and longevity as opposed to fame and fortune and being a celebrity,” says Bateman, standing by his youthful cockiness. “And, you know, certain choices I've made in my career are consistent with that, and others aren't.”Jason Bateman is handsome in a cozy way, like he's just finished unpacking his winter wools from an oak chest in the pages of a J. Crew catalogue. In person, he's pleasant but not phony, prickly but not distant. He's a gentler version of his on-screen persona, the exasperated straight man who toggles between wholesome deadpan and gallows humor. And when confronted with his teenage stardom, he doesn't recoil. He demonstrates how exquisitely well-adjusted he is today, how he has a firm-yet-supple grip on the rudder of his career, even as he lets out its sails.“I've witnessed some people very close to me that have made decisions that are too far in either direction,” he says. “Either too precious, too I'm-not-gonna-work-for-the-Man — and they've been unemployed for years — or those that grab the low-hanging fruit because they think fame and fortune is the way to relevance and longevity. And neither really works. You have to strike a balance, all the while having very limited choices.”Bateman has wanted to direct a movie ever since his father took him to the cinema instead of the park as a child. Imprinted on his frontal lobe are “Apocalypse Now,”"Kramer vs. Kramer” and other acclaimed box-office hits of the late '70s and early '80s, just before he entered the business at 12 years old with a role on “Little House on the Prairie.” Child stardom both stunted his directorial ambitions and girded them with years of on-set experience. Once he got comfortable in front of the camera, he started to observe and absorb what was going on behind it.Long before “Bad Words” came along, though, Bateman had to experience three moments that define many Hollywood careers: The moment he knew he was in, the moment he knew he was out and the moment he knew he was back.The first: “When NBC gave me my own show called 'It's Your Move' [in 1984], which was on the heels of 'Silver Spoons.' ”The second: After “The Hogan Family” ended in 1991, “I was auditioning for pilots or looking to be worked into pilots. . . . I remember [my attorney and I] talking numbers, and I said: 'Boy that sounds low to me. Does that not sound low to you?' And there was a pause and he said, 'You know, you're just not that hot anymore.' ”The third: It “was after 'Arrested Development' started to get its first wave of critical acclaim [in late 2003]. So it wasn't just getting hired on that show, which was a very, very big deal for me, but it was once I knew the show was now being embraced by those who could perpetuate a career. . . . And we got nominated for a Golden Globe and the Emmys. And now basically my stink had been washed off, and I was on something that was critically acclaimed, and I was validated.”A string of mainstream film comedies with respectable box-office receipts allowed him to accumulate “just barely enough capital as an actor” to be a “tolerable financial risk” as a director. In “Bad Words,” his character exploits a loophole in the bylaws of a spelling-bee organization to compete against spellers who are 35 years younger. On the one hand, it's a predictable, bilious addition to the misanthropic frat-pack genre that is now a decade old (and rotting). On the other, it's a calling card for a promising director whose confidence manifests in the sleekness and precision of his first self-made product.Nicole Kidman, after she saw “Bad Words,” called Bateman and asked him to direct and star in a movie adaptation of the darkly comic novel “The Family Fang.” Preproduction begins in May.“That was exciting, to say the least,” he says of Kidman's overture. “I'm always shocked that anyone knows I'm on the planet.”His planet is “very normal and predictable,” which maybe explains why his humor is often tinged with dread. He lives in the Hollywood Hills with his wife, Amanda, and his two daughters, ages 7 and 2. He drives the 7-year-old to school in the morning and then, if he's not shooting, tends film and TV projects at his production office at Universal Studios. His motto is balance, his goal to marry commerce with quality. If “Bad Words” and “The Family Fang” enable a full-time directing career, he will gladly bet his relevance and longevity on that.The screams of teenage girls echo in his past.The fruitful but fickle nature of Hollywood defines his present.And the future — a robust second career behind the camera? Or a second dance with oblivion? It doesn't matter, he says. He long ago detached his ego from fame.“This is probably going to sound trite, but I wanted to do three things,” Bateman says. “I wanted to be a dad, a husband and direct a movie. That's what I wanted to do.”Check. Check. Check. So what the hell is he going to do now?“I'm gonna go jump off a bridge,” says the well-adjusted family man.Print Email Font ResizeReturn to Top RELATED Please enable JavaScript to view the comments powered by Disqus.(Mario Perez/ABC)Courteney Cox regrets getting cosmetic workCourtney Cox tells Bear Grylis she regrets having cosmetic procedures, admits to trying to 'keep up with being older.’ Naya Rivera had an abortion while on 'Glee'Does Britney Spears lip synch during 'Carpool Karaoke' with James Corden?Leslie Jones naked pictures stolen, posted on Internet

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By : John Thomason Take 5: Audra McDonald Jan 01st 2013 In 2012, Audra McDonald achieved a milestone, becoming one of three actors in Broadway history to win five Tony Awards (she joined the ranks of Julie Harris and Angela Lansbury). She won for “Porgy and Bess,” a revival of the Gershwins’ celebrated “American folk opera,” and her previous wins, which range from “Master Class” to “A Raisin in the Sun,” attest to her diversity. Born in Berlin in 1970 to a military family, McDonald was raised in California and voice-trained at Juilliard; she won her first Tony for her first Broadway starring role, in 1994’s “Carousel.” She’s also hosted solo concerts and sung with philharmonics, collaborating on everything from big-band standards to jazz and pop. Her television credits include five years as an obstetrician on ABC’s “Private Practice”—still her most recognizable part. At her headlining appearance to close Festival of the Arts Boca, McDonald will lend to her golden voice to a celebration of musical theater favorites from Broadway classics to material from shows as recent as 2011. How do you keep a role fresh and exciting after performing it hundreds of times? I have a friend who used to say, “You look for a new vein every night.” You have to be able to get up there and find the truth in the song and the situation night after night, so it changes. It can vary. Certain things you’ve connected with will start to run a bit stale, so you have to freshen them up in a way. This is nothing the audience sees; this is the inner work that you have to do. What do you do on those nights when you’re dealing with something personal and you just don’t want to go onstage? It’s your job, so you have to; there’s always that. The discipline gets you out there. The fact that you’ve got an audience waiting for you gets you out there. Sometimes if you had a really bad day, you can use what’s happened to you that day and put it all into your work. Some days the last thing you want to do is go onstage, and all of a sudden you’re reinvigorated in a way you haven’t been in a week. Do you read what the critics say about you? You have to stay away from that. It’s so detrimental. If you believe the good, you believe the bad. It has nothing to do with what you’re doing, in a way, because they weren’t there for your whole process. Even if they single out something really great that you’re doing, you end up focusing just on that. Do you approach operas, with their grandly dramatic themes and movements, any differently than you would a guest spot on a TV show? No, because in the end, even if it’s just a concert, where there’s no theatrical presentation, for me it’s still about why am I doing what I’m doing? I need to know the “why” for everything. So it means finding the truth of every situation—why am I singing this song? What’s happening in this song? What needs to be expressed? That’s how you have to approach a character; it’s all the same. Because of your experience in live theater, do you bring that same level of perfection, where every line has to be right every time, to film and TV shoots? Not at all. As someone who’s come from the theater, I was frightened to death of the camera and having it so in my face, and with no audience to buoy you up into that performance state. Suddenly, you have to find truth and specificity and all of that underneath a microscope. I think there’s a bit of a misconception that one medium is necessarily easier than the other. McDonald in Concert Date: Saturday, March 16 Tickets: festivaloftheartsboca.org boca raton magazine, festival of the arts, take 5, audra mcdonald, tony awards,

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ONGo TO SLIDESHOW show comments By CS ON July 19, 2014SHARE“12 Monkeys” is coming to TV this January in a Syfy channel series. The cast stopped by the Television Critics Association summer press tour in Beverly Hills to preview the show before returning to production. I saw the pilot, which stars Aaron Stanford as time traveler James Cole, and Amanda Schull as Dr. Cassandra Railly.Amanda Schull looks quite different from Madeleine Stowe. Superficially, Schull is blonde and they’ve changed the character’s first name from Kathryn to Cassandra. In the pilot, Cole disappears before Cassandra’s eyes in 2013, only to reappear as promised on New Year’s Eve 2014. I got to speak with Schull about her take on Dr. Railly and the new directions in which the Syfy series will take “12 Monkeys.”ComingSoon.net: When you auditioned for “12 Monkeys” or it was offered, did they tell you it was “12 Monkeys” or was it even more secretive than that?Amanda Schull: No, it was straightforward from the very beginning. The script was “12 Monkeys” so there was definitely no guise that it was under anything else. But, full disclosure, I did not re-watch the film until after we had shot the pilot. CS: That’s a valid choice. Did it give you any concern that they were remaking the movie?Schull: Well, the film came out in 1995, so at least the film wasn’t made last year. We’re not delving into something that is that fresh. It’s also the same producers as the film, so it didn’t give me so much pause as it was excitement. We’re going to be doing it as much justice as I think can be done because we have all the right players involved to do it justice.CS: Are you the type of actor, when you find out you’re going to be playing a doctor, you’d like to do seven years of medical school as research?Schull: [Laughs] I do try to do as much research as possible. I think some people like flying by the seat of their pants and some people like being a little more prepared, and I’m of the latter. CS: So how much can you do for not only a doctor, but a doctor dealing with these extraordinary circumstances?Schull: Right, well the extraordinary circumstances aren’t something you can necessarily manufacture and get involved in, so I can only do as much research as I can find myself. With the exception of hopping on a plane and going to some war torn, plague riddled area, I did not do that. CS: Once she makes the leap trusts Cole and follows him, do a lot of people in Railly’s life abandon her?Schull: I think it’s not just that she makes the leap to trust Cole. It’s that nobody else experienced her situation and knows what she’s talking about, so nobody believes what she has now invested and is dedicating her life to do. I think it’s sort of like if somebody were to tell you, “No, I really did see that UFO. I guarantee you.” And it’s somebody who you trust who’s an intelligent, strong person, you want to believe them but at a certain point, you weren’t there. You didn’t experience what that person experienced and you can’t go along for the ride with the same intensity.CS: The end of the pilot already gives us a big twist on the movie’s characters. Where does episode two pick up?Schull: Five minutes later. Five minutes later our time though, which is what Cassandra considers to be the present. That’s not necessarily Cole’s present. So it’s five minutes later from her perspective and who knows how long for them and what’s happened and transpired in the future?CS: Is moving forward completely uncharted territory, or are there still elements from the movie that could appear on the show?Schull: Oh, hopefully so many episodes to come, there are definitely nods to the film, but because it’s a series, we have so many opportunities to take moments and expand on them and go down rabbit holes and what ifs and certain scenarios. So the difference between having the luxury of all the time and having a finite amount of time with the film I think gives us this wonderful opportunity to investigate a little more fully some of the ideas that were mentioned and touched on in the film.CS: The show takes place between time periods, but is the present day the base?Schull: No. Her reality is 2015, is the present, so that’s her reality. Cole’s primary focus is the future, 2043. So there are two separate worlds but also Cole is able to travel back and forth between those two worlds. CS: We find out he’s gone back to 1987 at one point. Are we going to see Railly in 1987?Schull: I’m not sure yet. I don’t know. We definitely are going to see what Cassie went through in the two years between when she first met Cole [and now], but as far as 1987, I’m not positive about that.CS: It would have to be a little girl.Schull: Yeah, I don’t know if they’d be able to use me for that. We could use some scotch tape, but I don’t know how much we could actually do.CS: Between 2013 and New Year’s Eve 2014, we’ll see what she went through?Schull: Yeah, we’ll see some of what went into her committing herself to this journey and also just what it means for her personally, professionally, relationship-wise and what she’s going to do to save the world basically from this virus, this plague. CS: Are you a science fiction fan in general?Schull: I am not a full force quote-me-on-everything science fiction fan, but I do love especially the time travel element. I think it’s fascinating. I did love the movie when it came out so I think it’s a genre I’ve been attracted to, but I haven’t pledged allegiance to quite yet. This has made me a believer, just being able to see and doing homework on different science fiction, I’ve come to appreciate it even more. It’s a smart genre. It’s a very smart genre. CS: Which homework did you do?Schull: I watched a little bit more of female science-fiction. In particular Jodie Foster, and I re-watched Terminator which I didn’t appreciate as much when I was younger. That was interesting, also to see her character and how she developed.CS: You remember her from Terminator 2 already pumped up.Schull: Yeah, exactly. You’re right. I didn’t remember her as well from when she was a little bit meeker and hadn’t taken on her strength yet. CS: Terminator 1 is amazing and the whole story is in there. Everything she does in 2 is something she suggested or alluded to in 1.Schull: It’s a smart genre. It’s interesting, especially with time travel, so many elements of science fiction need to be thought out and forethought rather than just going on this tumbly journey down a path. It’s something that the writers, the creators and even the actors need to all be on board with and understand which I think is really exciting, an interesting element of it. You don’t just open a script and something out of left field has happened. There’s often a little nod to it somewhere along the lines and there’s an ah-ha moment for the audience as well.CS: For Jodie Foster, did you watch Contact?Schull: I didn’t rewatch Contact. I should! I did re-watch Silence of the Lambs, but that’s not science-fiction. CS: Given all the potential paradoxes suggested in the pilot, what questions did you have for the producers going forward?Schull: I had so many questions about what’s going forward. Also from my perspective it’s what’s going forward for her as a person. I think in order for me to convincingly sell the audience on her journey, you need to hear about her as a person and what her plight was, which is a very different thing from the paradoxes. The paradoxes are not necessarily something I concern myself with as much just because I trust the writers wholeheartedly. I know that this was their baby. This is five years in the making for them and they’re going to do her justice and do the story justice, but I was interested in what she went through from 2013 until 2015, and what makes her who she is and why she would be willing to go on that journey with Cole.CS: Did you ever see La Jetee, the short film?Schull: I’ve never seen La Jetee. I’m excited to see it. Thank you for reminding me again, every time I hear someone say that.CS: Have you ever been a part of something with such a built in following already?Schull: Not something as big as “12 Monkeys.” I’ve done some television that has a following from a book [“Pretty Little Liars”] and I did a film based on a book of the same name, “Mao’s Last Dancer.” It was based on an autobiography. I think “12 Monkeys,” every time I mention it to people, their eyes light -up. It has a big cult following which is exciting.You can watch the first trailer below and don’t miss our interview with Aaron Stanford here.(Photo Credit: Getty Images) 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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Making friends! Katherine McPhee hitches a ride with the cameraman on the set of musical drama Smash By Shooting multiple takes for a television show can be a long, hard slog.But Katherine McPhee was riding high on the set of musical drama Smash on Wednesday.Holding a cup in coffee in one hand, the 28-year-old hitched a ride on the camera dolly with the help of a game cameraman.Wearing a draped blue coat over a pair of skinny jeans and trendy ankle boots, the singer-turned-actress was clearly in a playful mood. Hitching a ride: Smash star Katherine McPhee played around on the camera dolly between takes And Katherine, who plays Karen on the show, has plenty to smile about on the upcoming season as her character won the coveted lead role in in the fictional Bombshell musical.Despite poor ratings Smash has just been renewed for another season by NBC.lead role in Bombshell Read More at: http://hollywoodlife.com/2012/11/09/smash-season-2-karen-ivy-feud-katharine-mcphee-spoilers/#utm_source=copypaste&utm_campaign=referrallead role in Bombshell Read More at: http://hollywoodlife.com/2012/11/09/smash-season-2-karen-ivy-feud-katharine-mcphee-spoilers/#utm_source=copypaste&utm_campaign=referralThe network also announced on Wednesday that Liza Minnelli will guest star on an episode of TV musical drama.Cabaret star Liza will definitely be in her element as she joins cast members Debra Messing, Anjelica Huston and Megan Hilty on the series about a group of writers, producers and actors working to create a Broadway musical about Marilyn Monroe. Hold on tight: The camera man grabbed the actress before she leapt off Caffeine fix: Katherine held a cup of coffee on the set of the musical drama today Also spotted on the set today, wearing a pair of edgy fishnet tights and fingerless gloves, was the latest addition to the cast actress Krysta Rodriguez who will play Karen's roommate Ana.Her character has been described as a 'fun and spunky Broadway ensemble player looking to make her mark.'Rodriguez, 28, is no stranger to theater fans as she played Wednesday Addams in the stage production of The Addams Family on Broadway.Jennifer Hudson, Jesse L. Martin and Sean Hayes will also guest star in the upcoming season. New girl: Katherine McPhee and Krysta Rodriguez who will play her room-mate Ana in the upcoming season Broadway veteran: Krysta played Wednesday Addams in the stage production of The Addams Family Earlier this week, the Los Angeles born McPhee was at Salvation Army disaster relief site at Island Park, Long Island to raise money for Hurricane Sandy victims. The generous star, who found fame as a contestant on American Idol, donated $50,000 through her McPhee Outreach charitable foundation which gives to a number of different causes. 'I was looking for the organization on the ground that was doing the most to help Hurricane SANDY victims,' Katherine said, 'and I found that to be The Salvation Army.' Give my regards to Broadway:Liza Minnelli gives a wave and a kiss goodbye as she flies out of Los Angeles Smash's second season returns mid-season on NBC. Share or comment on this article

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A crown jewel By Gregory Weinkauf Woo, hoo: Chow Yun-Fat and Jodie Foster ain't no Yul Brynner and Deborah Kerr, and more's the better for it. I sincerely hope Jodie Foster gets a chance to relax and unwind this holiday season, because the lady has obviously worked like a horse to instill her latest role with humanity and significance. As intrepid British widow Anna Leonowens in the huge and poetic new Anna and the King, Foster channels so much emotional and cultural complexity, it's as though she's at once a global receiver and transmitter, and the signals she's processing are deeper and richer than anything she's previously committed to film.How perfect, then, that she is complemented by an actor with equal soul, verve, and gravity in Chow Yun-Fat. Long a superstar in his native Hong Kong, and lately a popular import in wild action flicks helmed by John Woo (The Killer, Hard-Boiled), Chow brings an initially daunting yet profoundly compassionate resonance to the role of Siam's King Mongkut, host to Anna and her young, fatherless son, Louis (Tom Felton).This is a rather familiar story, popularized in three screen versions already (twice by Fox, which knows a strong property when it's got one, and once in this year's animated dilution of the musical). It's impossible to think of Leonowens' rich and inspiring (and, some skeptics suggest, cleverly fabricated) diaries without summoning the brilliance of Yul Brynner and Deborah Kerr crooning Rodgers and Hammerstein tunes (in Kerr's case, with the looped voice of Marni Nixon). For that matter, it's also pretty easy to glance a little further back, beyond Walter Lang's 1956 version, to John Cromwell's straight take with Irene Dunne and Rex Harrison in 1946.There's a vast and elegantly explored theme of "Getting to Know You" in this epic retelling, helmed by director Andy Tennant (Ever After), but don't expect any spontaneous vocalizing. Tennant and his enormous team have instead crafted this tale as a smart, bold, adventurous drama told straight, on a gigantic scale inspired by Doctor Zhivago or, more recently, Richard Attenborough's Ghandi or Cry Freedom. (It's probably no coincidence that Attenborough's composer on those films, George Fenton, provides the swelling, sometimes funky score.) This one is big, teeming with thousands of extras, countless elephants, lush jungles, a jaw-dropping royal palace, battles, barges, even a monsoon. Yet all these incredible sets and locations prove utterly necessary to balance the vital core of this powerful -- if cautious -- romance.If you eat food to keep your body alive, perhaps you've run into advertisements for this movie on shopping carts in supermarkets, and this crass blitz may seem to cheapen Anna's significance and scope, but really, it doesn't. "One cannot plow new fields in Siam overnight," explains the King to Anna. It is 1862, and, despite a looming colonial influence, Siam still maintains its old ways. Anna, who has arrived with the shields of her British principles on maximum, seeks to enlighten the King's 58 children (borne by his 23 wives and 42 concubines, who have 10 more soon to be born) in the ways of the West, where, thanks to abolitionists like Abraham Lincoln (who sends the King a letter later in the film), slavery isn't tolerated anymore. To advance her notions, Anna gives the King's ornery son Prince Chulalongkorn (Keith Chin) a copy of Uncle Tom's Cabin, which the boy initially shies away from simply because it was written by a woman -- who is, to him, lesser than a man. Soon the King politely asks Anna to avoid using the book in her instruction. You can see what the courageous governess is up against.What makes this film shine, however, is that it's not about taking sides. Both Leonowens and Mongkut have tricky personal issues to work out: He's not much into commitment, not even with his head wife; she's been avoiding the process of living her life since losing her husband two years earlier. When the trappings of their equally rich but incredibly disparate cultures come into play -- and do they ever, as "the British stench" wafts through in the form of Burmese death squads -- Anna and the King become polarized symbols, representing millions, drawn together by forces that will ultimately keep them apart.Subplots abound in this lengthy and intricate film, including Anna's attachment to one of the King's adorable daughters, Princess Fa-Ying (Melissa Campbell), and the somewhat awkward presence of British arrogance in the form of Lord and Lady Bradley (Geoffrey Palmer and Ann Firbank) and the rather tactless Mycroft Kincaid (Bill Stewart), who lasciviously admires Mongkut's collection of women. There's also a menace brewing in the form of General Alak (Randall Duk Kim). Some of the most poignant work, however, comes from the King's new concubine, Tuptim (Bai Ling), whose devotion to her ex-beau Balat (Sean Ghazi) is monumentally moving.Adding greatness is the dialogue, which is surprisingly adept and lyrical, often philosophically stirring. Writers Steve Meerson and Peter Krikes, whose earlier collaboration produced Star Trek IV: The Voyage Home, have transcribed Leonowens diaries into a screenplay that often sounds like poetry. When Chulalongkorn asks why his father has chosen to humble him under the ministrations of the governess, Anna responds that the King simply wants what's best for the boy, and at the moment, that includes her. When the child asks why, she kindly explains: "Most people do not see the world as it is -- they see it as they are." It's a simple moment, but it reveals much about the locked souls of the teacher and the monarch, who gradually evolve in the light of each other's presence.Anna and the King is a grand entertainment in the old-fashioned sense, but it's also a valuable -- and easily accessible -- document for our own age, in which cultures bleed into one another with an even more feverish intensity. It's a portrait of courage and hope against incredible odds, summed up perfectly by Foster during a scientific experiment she presents for the children. "The one way to achieve the impossible," she explains to her rapt audience as an egg is sucked by a vacuum into a bottle, "is to change the climate." Contact: Gregory Weinkauf Netflix's The Get Down Makes You Wonder How It Keeps from... What Disney's Horrible Tween Shows Taught Me About Parenting — and... Ira Sachs' Little Men Is a Don't-Miss Look at Growing...

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Home News District City Point Blank - Bengaluru State National International New Delhi Metrolife Metro Region Business Business Matters DH Wheels Supplements Sunday Sportscene Sunday Herald Travel Articulations Books Art & Culture Entertainment Monday Cyber Space Family Finance Economy & Business Art Review Metrolife Tuesday Spectrum Science & Technology Environment Metrolife Wednesday Metrolife Thursday Metrolife DH Education Friday Homes & Interiors Metrolife Saturday Movie Review She Living Metrolife Sports Olympics 2016 Entertainment Videos Opinion Edits First Edit Second Edit Main Article In Perspective Net mail Right in the Middle Columns Oasis Analysis Panorama Special Features Sunday Spotlight ePaper Breaking News Appeal to all Kashmiris not to play with future of youth in the Valley: Union Home Minister Singh Security forces told to exercise maximum restraint. Alternative to pellet guns soon: Rajnath Singh You are here: Home » Supplements » Sunday Herald entertainment » Going with the flow S Nanda kumar, September 30, 2012: In character S Nanda kumar speaks to Southern film personality Ramesh Aravind on how he got started in the Kannada film industry, his directorial turn in the art of movie-making, and more.Ramesh Aravind. After nearly 25 years and over 14O films in the cinema industry, the name conjures up an image of an affable, pleasing actor who seems to fit easily into the characters he plays. The real-life person is not very different — cheerful, ebullient and very approachable. But what was a revelation is the man’s mind — it works at a frenetic pace, and one can almost hear it buzzing with ideas. It is almost as if his speech is barely able to keep pace with his lightning-quick brain, and as a result, he probably packs in more words per minute than the others. There are no pauses, no long-drawn out answers — everything is rapid fire, swift, and it is infectious. As a result, one is drawn into a most invigorating conversation that proceeds at a dazzling pace, as we swiftly move from one topic to another, and from one idea to another. It reveals a creatively restless mind that is probably responsible for his forays into radio, television, writing film scripts and direction, in addition to acting in all the South Indian languages.His journey of almost a quarter of a century in films seems to epitomise his great belief in “going with the flow,” and not planning any deep career moves as an actor. Ramesh attributes his freethinking to the way his parents raised him, with no pressures to either excel academically or in extra-curricular activities. “The greatest gift my parents have given me is that they just let me be. There was never any pressure on me to read or write or go play — nothing! They just let me be like a free-growing plant. So whatever I liked to do, I just did.”Perhaps the seeds for the growth of this creative person were sown when he took part in debate competitions as a student at the Bangalore High School. His teacher had prepared him well, and had urged him to make his points forcefully. “I still remember the subject, it was ‘Good people suffer the most;’ and I just followed the one thing which she told me very religiously. So I remember pounding the podium with my fist whenever I made a point!” Ramesh won a prize for this particular debate competition. “I think that’s where it all began — when I heard the applause, and won my first cup — the expression on my mother’s face when I returned home victorious with a cup, the great feeling I had…”Getting startedThe buzz of applause was to follow him. At UVCE, where he “hated every minute of the first month in that college,” another teacher gave him the responsibility of writing and directing skits. This was to prove to be an eye-opener for Ramesh. “After I was given this responsibility, I started loving every single moment in the same college. That was a very interesting discovery — that doing something that makes you happy could transform that same college. Nothing had changed except that I got something that I liked to do…that’s why I say we should do things we love. Otherwise, nothing will be satisfying. So I kept doing skits, and life became enjoyable!” Keeping himself occupied with things that made him happy was to land him more opportunities than he had ever dreamt of. Unwittingly, he had set an important sequence in his life rolling.A judge of a radio programme watched one of the skits he wrote and performed. He invited him to do the same thing on radio. That in turn caught the attention of television producers, who asked him to do a TV programme. In a chain of events that he terms ‘magical,’ two very significant people, film directors Geethapriya and K Balachander, noticed the young man on the small screen. “The first film that I acted in was Geethapriya’s Mouna Geethe. But the first film to release was Sundara Swapnagalu by K Balachander. Both came my way because of the same TV programme! Balachander then took me to Tamil and Telugu films. And one film led to another,” he says, very simply, making it sound easy. The writing of skits stood him in good stead when he turned to writing for films. When some producers approached him for a story on widow remarriage, he demurred at first, telling them that if they had such a clear message in mind, they could perhaps be well served by making a documentary on the subject. But the producers persisted, and Ramesh suggested an idea that turned into Hoomale, which was directed by Nagathihalli Chandrashekar, and received the National Award for Best Regional Film. The story revolved around terrorism, and was set in the northeast. Ramesh also acted in the same film. “The whole idea was written down by me on a single sheet of paper — and then it went on growing!” Amrithadhare, which followed, was co-scripted with director Nagathihalli Chandrashekar, and went on to become a hit. He then went to write Accident and Nam Anna Bond, both of which he directed.But the debut as a director came with Rama Bhama Shama, a remake of the Tamil super hit, Sathy Leelavathy. “My thinking was that of a director even when I was acting. I would think of what the scene could do for the film rather than what it could do for me. Kamal Hasan noticed this first and told me that I should direct films.”Working under directors like K Balachander probably also helped free his mind from thinking along fixed, mechanical lines. They encouraged impromptu ideas and improvisations during the shooting of their films. “In fact, Balachander always responded to my impromptu ideas with something that took them even further,” he exclaims with admiration. He credits the people he initially worked with when he entered films for fashioning his thinking about cinema. “I worked with stalwarts like K Balachander, Balu Mahendra, Sunil Kumar Desai and others. Cinema became totally passion-driven for me because of these people. It was not about autographs and cutouts — these were just by-products. You won’t believe it, but I can work for 20-21 hours a day with complete focus every minute when I am directing. That is because these people would do it that way, without getting distracted even for a second. Like them, it’s because I love the job.”His directorial debut with Rama Bhama Shama was followed up with Satyavan Savitri, Accident, Venkata in Sankata, and Nam Anna Bond. One is not surprised when he confesses that he is a workaholic. “I need work. I cannot sit idle on a sofa. I just cannot. I have to keep doing something. My work is my relaxation. I have to keep my mind active. I have also tried to do nothing. But I just cannot. Basically, I think I am a workaholic! I derive a lot of pleasure from work. That’s what keeps me going. As I grow older, I find that every minute is very long! For me, one minute is a hell of a lot of time, 15 minutes is amazing, 24 hours is fantastic, I can do a hundred things; if I am focused, I can even finish writing a film. I feel one can do so much in one day,” he says enthusiastically. As we talk about future dreams, he cuts in with his fascination for musicals. “I want to produce and direct a Broadway musical like ‘Moulin Rouge’ right here in India!” he declares passionately.He has already started work on his fifth directorial venture, a Kannada film starring Upendra, called Super Kick. The producer of the film, K Manju, had also made the hugely successful Rama Bhama Shama with Ramesh as the director. Ramesh is also slated to work in the film as an actor.� “It should be a really interesting combination with Upendra,” he says with bright expectations in his eyes. Even as he is talking about it, he also announces that he will also be working in another film as an actor. With this bubbling person, one thing is for sure — there will never be a dull moment.

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Home > Movies & TV > Queen Elizabeth parachutes into Olympic stadium… Queen Elizabeth parachutes into Olympic stadium with James Bond to open London Games By Queen Elizabeth II. Parachuting into the Olympic stadium. With James Bond. In a five-minute film played as part of the London Olympics opening ceremony, a global audience watched as James Bond, played by Daniel Craig, met the Queen at Buckingham Palace. “Good evening, Mr. Bond,” she says, delivering her only line in the skit with aplomb. The pair then board a helicopter and fly across various London landmarks towards the Olympic stadium. Hovering high above the venue, the Queen, in a fetching peach-colored dress – together with Bond (not in a fetching peach-colored dress) – jumps from the helicopter, with the two of them deploying their Union Jack parachutes within seconds. Shortly after the parachutists disappeared from view, the Queen showed up in the stadium, taking her seat to rapturous applause from the gathered 65,000 audience. She later declared the London 2012 Games officially open. Whether the head of state will get an entry on IMDb for her debut acting role remains to be seen (she surely must), but it was certainly a surprise no one had been expecting. OK, there was, of course, some jiggery-pokery in the creation of the skit, with the parachuting Queen played by a stunt man. But it was certainly the real Queen who appeared in the segment at the start. Slumdog Millionaire and 127 Hours director Danny Boyle, the man behind Friday night’s opening ceremony, had the idea for the sequence last summer, but it took until March before it could be filmed because of Daniel Craig’s busy schedule. The Queen apparently had a few appointments too. According to a Telegraph report, the short film, directed by Boyle, took a crew of 130 three hours to shoot. Nicholas Brown, the BBC’s director of drama production, said the Queen’s performance was perfect. “She got it in one take,” he said. “That’s what she does, and she does it very well. She is a professional.” Brown added, “It was extraordinary to have the two [the Queen and Daniel Craig] together….the Palace was terrific about the shoot and we were delighted and honored that the Queen was involved.” Check it out for yourself below. Queen Elizabeth’s Olympics Helicopter Jump with James Bond from MYNAME1229 on Vimeo.

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Jay Gatsby is a strikingly handsome, incredibly wealthy man who�s shrouded in mystery, at least involving the source of his riches. He�s terribly lonely, and regularly throws wild parties in his opulent mansion, just so there are people around him. He�s hopelessly in love with a (married) woman from his past, and will do anything he can to win her. What actor wouldn�t want to play the lead in �The Great Gatsby?� Well, five have attempted it on film, to varying degrees of success. There was Warner Baxter in the long-lost 1926 silent version, a stiff Alan Ladd in 1949, a slightly long-in-the-tooth Robert Redford in 1974, and a close-to-sneering (rather than smiling) Toby Stephens in a 2000 TV version. Now Leonardo DiCaprio tries the role on for size in Baz Luhrmann�s new adaptation of F. Scott Fitzgerald�s celebrated novel, and he comes closest yet to capturing the character that was on the page. DiCaprio discussed the character and the movie in New York last week.You�ve spoken before about growing up without much money, just as Gatsby does in the book and film. Did you identify with him?I think everyone has some sort of connection to Gatsby as a character. He�s someone who has created himself according to his own imagination and dreams, lifted himself by his own bootstraps as a poor youth in the Midwest, and created this image that is the great Gatsby. It�s a truly American story in that regard. Here�s this emerging democracy that is America in the 1920s, and he wants to emulate a Rockefeller of that time period. He, of course, creates his wealth in the underworld, but this is the new land that is America. It was a very exciting time, and I think we can all relate to that dreamer in Gatsby. Each one of us gets excited by the prospect of somebody that has that much ambition.Do you recall when you first read the book?The �Gatsby� that I remember reading in school when I was 15 years old was far different than the �Gatsby� I read as an adult. What I remember from back then was this hopeless romantic that was solely in love with this one woman, and created this great amount of wealth to be able to respectably hold her hand. But to re-read it as an adult was fascinating. It is one of those novels that�s still talked about, nearly a hundred years later, for a reason. It�s incredibly nuanced, it�s existential, and here, at the center of it, is this man who has attached himself to this relic, this mirage, known as Daisy. For the first time, I was struck by the sadness in him, and I looked at him completely differently. I looked at him as someone who�s very hollow, and searching for some sort of meaning.So how do you go about inserting yourself into the character?One very telling sequence in the book that was very important for me was after he�s lured Daisy into his castle, he�s holding her, yet he�s still staring out at the green light. He�s finally got her in his arms, but he�s still searching for this thing that he thinks is going to complete him. That was the Gatsby that I was so excited about playing. So as I got older, it took on new meaning, and I think that�s what�s so incredible about the novel. Everyone who reads it has their own interpretation of who these characters are. Of course, when you�re making a movie, you have to be very specific. That�s what�s very difficult in making a movie of it, because everyone has their own personal attachment to the book, and they feel that they know these characters on a very intimate level.Ed Symkus covers movies for More Content Now.

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TheFilmFile TheBluFile TheFrightFile ABCDEFGHIJKLMNOPQRSTUVWX YZ 20152014 201120102009200820072006200520042003200220012000199919981997 & previous ©1998–2015Dustin Putman The Legend of Hercules (2014) Directed by Renny Harlin. Cast: Kellan Lutz, Gaia Weiss, Scott Adkins, Roxanne McKee, Liam Garrigan, Liam McIntyre, Rade Serbedzija, Johnathon Schaech, Luke Newberry, Kenneth Cranham, Mariah Gale, Sarai Givaty. 2014 – 99 minutes Rated: (for violence and some sensuality). Reviewed by Dustin Putman, January 9, 2014. Renny Harlin has fallen on hard times within his storied directorial career. A visually innovative filmmaker with a knack for mounting large-scale action set-pieces, most of his features in the late-1980s and throughout the '90s impressed if for no other reason than through the nervy style he brought to them. 1988's "A Nightmare on Elm Street 4: The Dream Master," 1990's "Die Hard 2: Die Harder," 1993's "Cliffhanger," 1996's "The Long Kiss Goodnight," 1999's "Deep Blue Sea"—for a time, Harlin was one of the go-to talents of the genre. How that guy became the one responsible for 2006's low-rent, misogynistic "The Covenant" and the rickety, dime-a-dozen "The Legend of Hercules" is not so much a testament of his loss in talent as it is his rotten luck while getting eaten up by a mid-level studio system no longer willing to give him his pick of scripts following several box-office disappointments. When he forgoes the paychecks for more adventurous, lower-budgeted projects, he is still capable of exhibiting inspiration, as was the case with 2013's under-the-radar found-footage horror film "Devil's Pass." When he endeavors upon a work-for-hire gig, the results can go radically south. The slack, sanitized artistic license with which screenwriters Sean Hood (2011's "Conan the Barbarian"), Daniel Giat and Giulio Steve take in regard to "The Legend of Hercules" renders it barely related at all to the Greek mythology of the character. Instead, Harlin has clearly been instructed to make a derivative amalgamation of everything from 2000's "Gladiator," to 2004's "Troy," to 2007's "300," to 2011's "Immortals" (just to name a few) without the opportunity to give it a unique identity of its own. There isn't a scene here that isn't dopey and strictly by-the-numbers, just as there is scarcely a scene that doesn't resemble what one would expect from a "Medieval Times" dinner theater. This is not to say that the green screen work isn't mostly competent from a technical standpoint, but effects that narrowly make the grade do not a good movie make. On every level, "The Legend of Hercules" lives up to all that one fears about January film releases. In Southern Greece, circa 1200 B.C., Queen Alcmene (Roxanne McKee) wants to put an end to the tyranny within her kingdom and across the land, agreeing to birth a son with Zeus for the sake of peace. Cue lots of writhing under sheets with an invisible god—that is, until her husband, the brutish King Amphitryon (Scott Adkins), catches her in the act. By then, the damage has been done, and nine months later Alcides is born. Twenty years later, Alcides (Kellan Lutz) is madly in love with Princess Hebe of Crete (Gaia Weiss)—a fact not lost upon his stepfather when it is announced that Alcides' scheming older brother, Iphicles (Liam Garrigan), is to marry her instead. An attempt at escaping together ends in Hebe being returned to the kingdom against her wishes and Alcides being sold into slavery. Pit against dangerous components in arena-set fights to the death, Alcides' only hope in finding a way out of his situation and returning to Hebe is to survive. As he begins to discover the magnificent extent of his abilities as the offspring of a god, it is only a matter of time before he ultimately grows into his true name, the one his mother secretly gave him at birth: Hercules. It is approximately two minutes into "The Legend of Hercules" when a character theatrically announces to another in battle, "Prepare to die!" Not five minutes later, King Amphitryon is screaming up at the sky, arms raised, as the rain pours down around him, not aware that over three thousand years later this soapy melodramatic ploy will be repeated ad nausea in a curious form of art called cinema. Not content to think for itself, "The Legend of Hercules" simply borrows wholesale from other movies for the duration. The use of slow motion followed by abrupt speed-ups as swords are swung and Hercules leaps in the air at adversaries (this happens, no joke, between ten and twenty times during the film's 99-minute running time) is such a rehashed, overdone move it deserves to never be employed again. The actors, led by a constantly shirtless Kellan Lutz (2012's "Breaking Dawn Part 2"), are at the mercy of some head-scratchingly terrible dialogue that makes them sound like they're speaking Shakespeare by way of "The Real Housewives of Beverly Hills." At one point, Hercules describes himself as "the self-proclaimed son of Zeus." At another, Iphicles spitefully tells him—and this really makes no sense if one stops to think about it—"I wish you countless victories on the battlefield, because if you return here, I'll kill you." Say what? "Out of my way, woman!" is also uttered, and no, this is not meant to be a comedy. For reasons unknown, every one of Hercules' family members speaks with a British accent while he speaks as if he's spent his childhood years at a boarding school in Marina Del Rey. It's just as well. As shoulder-shrugging as "The Legend of Hercules" is, there is admittedly room for it to have been even worse. Disregarding the plodding, pointless, brightness-strangling 3D of its big-screen exhibition, the film has a slick aesthetic sheen, a few sweeping, solidly orchestrated camera setups, and verges into camp frequently enough that sitting through it doesn't become too punishing. Still, what could Renny Harlin have been thinking to lower himself to such rote, vanilla, antiseptic material? Why does he have trouble concocting anything close to tension or excitement? Why is there not a solitary reason provided for why we should care about a ragtag ensemble of one-note characters who are terminally conflicted but empty, bar none, in their souls? And why, oh, why is there so much cottonwood fluff floating through every other shot that it threatens to entirely consume the performers? "The Legend of Hercules" is bumbling tripe, the rooting interest it works up in the viewer accurately equating to the makers' interest in staying true to the classic mythology upon which the story is based. There have been boxes of hair smarter than this movie. © 2014 by Dustin Putman

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A review by Leonard Norwitz NEW CONTEST FOR A FREE EDITION! SEE HERE Winter Sonata Directed by Yoon Suk Ho Written by Kim Yoon Hee, Yoon Eun Kyung & Oh Soo Yun Originally aired in Korea SBS2 January 14 to March 19, 2002 Choi Ji Woo as Jung Yu-jin Bae Yong Jun as Kang Joon-sang Bae Yong Jun as Lee Min-hyung Park Yong Ha as Kim Sang-hyuk Park Sol Mi as Oh Che-lin Review by Leonard Norwitz Production: KBS Television, Korea Video: YA Entertainment (USA) Region 1: NTSC Feature: 480i Supplements: 480i Audio: Korean DD2.0 Subtitles: Feature: English Extras: English • Interviews, Bloopers, Behind the Scenes (1 hour) [480i] • Photo Gallery (about 60 publicity scrapbook snapshots of the cast, and an assortment of candid shots around the set.) • Synopsis • Character descriptions • Bios on Cast & Crew 20 episodes, approx. 1 hour/episode Extra features: 1 hour + stills 1 box set, 2 volumes, complete on 6 discs Winter Sonata ~ Comment (see Introduction to Korean Drama HERE) Winter Sonata is the series that started the Korean Wave, ensured stardom for its two leading actors, and instigated a fashion in scarves and turtle necks. While it was successful in Korea in its initial run (averaging a 20% share) the show became so popular in Japan the following year that it was aired once again in both Japan and in Korea – an exceedingly rare occurrence. With the release of the original DVD and soundtrack CD, the show's place in legend was assured. By this time, Winter Sonata began to take hold in Hawaii and eventually swept across the U.S. Much has been written elsewhere as to why and how Winter Sonata jumpstarted a worldwide interest in Korean television drama: the actors, the story, the locations, the scarves. Whatever it was, this series caught on across the Pacific Rim - which led me to wonder if Charlie got much USO? – I refer you to this article about the official North Korean position on South Korean television, published by Radio Free Asia HERE and this unconfirmed report this past September Perhaps the very discrepancy with which this sort of drama is entertained in the two Koreas explains in some measure the emotional response to it. Before Winter Sonata had aired its final episode, it's two main stars, Choi Ji Woo and Bae Jong Yun were already being treated with the kind of adoration usually reserved for superstars. (To get a flavor of this, be sure to visit the Extra Features included with this set.) The advertising for Winter Sonata emphasizes the idea of a love so strong that it persists even after the death of one of the partners. While this is hardly a novel idea, the very fact that it is the stuff of so many Korean dramas, or is at least seen that way – has to mean something more than simply a reflection of fashion. My take is that it has more to do with contemporary Korean history and the horrific split these people have had to endure for the past 50-60 years. Few dramas demonstrate the difference between Asian – and, specifically, Korean – attitudes about obligation – and, specifically, family obligation - as Winter Sonata. To take just one example, if it is the wish of the parents that their grown child will marry so and so, then marry so and so they shall. Even in modern Korea – and keep in mind South Korea has better Wi-Fi connectivity than any comparable area anywhere else on the planet – a child cannot, with impunity, do as they please with their lives if it does not correspond to the desires of the parents and, just as important, the grandparents. (The 2004 film, My Little Bride, is a satirical take on this very attitude.) In the world of Winter Sonata, and contrary to what most Westerners imagine would be the case, emotions are right at the surface – and even then, it is obvious that more intense emotions are still held back. Crying and apologizing is the order of the day. People apologize right and left in this story – as if for their own existence. And well they should, since they are painfully aware of the conflict of obligations that informs their lives. The advertising, the extra features, and the plot and character descriptions on this DVD suggest quite a different picture of the drama than I see – or perhaps they take the angst for granted. Much of Winter Sonata is awash in pain, and there is hardly a single character that isn't consumed by it: the four main protagonists especially. Of course, there would be no drama without conflict – but there's more to it than that. Expectations, hopes and dreams are dashed not only or so much by the whims of accident as by the commitment people have to expectations: Sang-hyuk and Yu-jin are juniors in high school, but have been close friends since day one. Their families are close. Sang-hyuk imagines a future with Yu-jin by his side always. She loves Sang-hyuk but does not see him as her boyfriend. Sang-hyuk is perfectly content to go on forever in this fantasy until the arrival in the first reel of a pretender to Yujin's affections. The pain that Sang-hyuk feels is not simply the potential loss of Yu-jin, but to his lifelong assumption that they would marry and be together forever – an assumption shared by both their parents. He is the character few people talk about when they speak of what draws them to the series – yet he is the most like the rest of us: he is absolutely committed to his expectations. His love of Yu-jin is more possessive than protective, and is profoundly connected to his fear of losing her, for it would also mean the loss of his dream. (Does any of this sound familiar?) Yu-jin, on the other hand, is deeply conflicted by her sense of familial duty and by her attachment to her unconsummated love for Joon-sang. Both she and Sang-hyuk are driven by what could have been and what should have been. To the extent that Winter Sonata is a fairly tale, it is one where all its protagonists walk through fire to the very end. Winter Sonata could not have worked the magic it had were it not for its cast, and particularly its two stars, Choi Ji Woo and Bae Yong Jun. Bae Yong Jun has an unusual look: soft and strong, which works quite well for both the characters he plays here. Kang Joon-sang's pain is very much on the surface. He is angry that his mother has kept his father's identity from him and jealous that the son of the man he believes is his father has a loving and complete family life. The decidedly more outgoing and confident Lee Min-hyung is taken for Joon-sang by Yu-jin, yet is torn between the person he believes himself to be and the desire for this woman. For such men to risk love and make that believable takes real skill as an actor. In Up Close & Personal Robert Redford says appreciatively of Michelle Pfeiffer "She eats the lens." It's a great line, though wasted on the right person at the wrong moment in the wrong movie. It's a sentiment that could not be said of Choi Ji Woo in Winter Sonata. The difference, of course, is that Michelle's character, a TV news personality, is required to look into the lens, and Ji-Woo's must not. The actress must be aware of the camera in either case, but since Michelle's observer insists on constancy, we are quickly bored, despite the actress's beauty. Michelle's character's relationship to the camera is more direct and quite literally self-conscious. Most film actresses assume this liability even if their characters don't. Ji-Woo, on the other hand, wants to reveal her character to us through the camera. She must understand the camera, but then must ignore it for the next twenty hours. We must have the feeling that there is nothing, absolutely nothing, between her and us. Like few film actresses I have seen before – Barbara Stanwyck, Vivien Leigh, Ingrid Bergman - this is her gift. To be able to watch Choi Ji-woo at her best, as she is here, is a mind-altering experience. The Score Card The Series : 9 Yu-jin and Sang-hyuk have been childhood friends, though not exactly sweethearts, since birth – their parents had been close friends as well as alumni of the same high school. Joon-sang is the new transfer student from Seoul. Though whiz bang in math, he has a personal agenda that does not include joining much of anything. In fact he is something of a boor. All the same, something about him strikes a sympathetic chord in Yu-jin, not least that they lost their fathers at about the same age. (Oh-oh!) When Yu-jin takes Joon-sang's helping hand - something she had refused to do when offered by Sang-hyuk – we know that she has taken the fatal step. One thing does not quite lead to another, however, as Joon-sang is pretty much dusted in a traffic accident by the end of the second episode. The rest of the series picks up the story, starting ten years later. Despite the passage of time, Yu-jin has only just now agreed to marry the long-suffering Sang-hyuk when she sees someone who bears a striking resemblance to her lost love. Lee Min-hyung has recently come to Korea from America where he is taking up the reins of a company about to build a new ski resort for which the designer is – you guessed it – Jun Yu-jin. Well, that's about as funny as this drama gets, aside from the usual bits of comic relief by a best friend or two. Sang-hyuk is not amused – in fact, he is driven to lengths to keep what he feels is rightfully his that surprise even him in his more sober moments. Yu-jin is in danger of losing her mind as she becomes completely obsessed with this grave robber from across the seas. Min-hyung seems to be utterly clueless about this melodrama, as if he just walked in after the first dozen reels, which he did. Meanwhile both sets of "in-laws" press her to follow through with her commitment to Sang-hyuk, regardless of her fanciful infatuation – or, is it? Under the terms of the license from KBS, and presumably to preserve everything possible from the "original edition" for its fans, no changes in image color or contrast, menu design or translation were permitted. Even though the boxes themselves are different (very much in favor of the more solid YAE), the front cover art is much the same – again, the result of contract. I checked out a few scenes to see if the video and translation were identical – and as near as I could tell, both have much the same color, contrast, and tendency to show artifacts, and nearly the same bit rates. The original KBS R3 edition is a 7-disc affair, while the YAE has 6. The distribution of episodes is also the same: four episodes per disc for discs 1-3; three episodes per disc for discs 4 & 5; and two episodes plus Special Features on disc 6. The R3 edition includes a bonus CD of the original soundtrack. Image : 6.5 (5~7/8) The score of 7 indicates a relative level of excellence compared to other standard definition DVDs on a 10-point scale for SD DVDs. The score in parentheses represents: first, a value for the image on a 10-point scale that accommodates both standard and high-definition DVDs – where any score above 7 for an SD is outstanding, since the large majority of high definition DVDs are 8-9.5. The second number in parentheses indicates how that image compares to what I believe is the current best we can expect in the theatre or, in the case of made-for-TV fare, as first shown on television. Despite the opening widescreen sequence that precedes the main menu, the series was originally filmed and broadcast in 4:3 standard definition. YAE receives Digital Beta 1:1 copies made from the tapes used for broadcast. Variations in quality from one YAE production to another is largely the result of the care taken in storage and transfer in Korea. Image quality varies considerably from scene, though it is largely a matter of contrast rather than sharpness (which is usually quite good), and affects outdoor scenes more often than indoor shots. As students race across the campus, each shot has jarringly different contrast. I suspect this is due to how rushed the project was (I am told that the last episode was being written as it was shot and that what post-production it received was sorted out the day it was due at the studio for broadcast.) In the first episode, we can see the overhead microphone intrude into the frame – I counted five instances – and in one scene you might even notice the gaffer holding the mike boom at the far left corner. It occurred to me that in all these cases, the offending bit of technology could have been easily digitally removed, but wasn't. That said, such errors are largely limited to the first episode. By the way, I didn't observe that image quality suffers in the first three discs, despite their containing over four hours of program as compared to the remaining discs, which have only three. Audio & Music : 7/9 Our observation of the intrusive microphone confirms what we already suspect: that nearly all of the dialogue is live, and not looped. The effect of this inevitably leads to a more intimate connection with the characters. The dialogue track is not stereo, but the music is. The musical score is fabulous, striking just the right mix of whimsy and regret, but is overused, for which I took off a point. No wonder that it sold a million copies in Japan alone. Subtitles & Translation : 7 This is one instance where the translation was not provided by YAE. Under the terms of the license, no changes in the translation were permitted. For the most part I thought the English rendering good enough to understand what was going on and why, and only rarely got confused by a discrepancy between the word and the action. Good example: in Episode One, Joon-sang and Sang-hyuk have an altercation on the volleyball court. Joon-sang calls Sang-hyuk a "Bookworm!" which nearly leads to an exchange of blows. Somehow I can't get my mind wrapped around the idea that being called a "bookworm" could have such dire consequences. The subtitles are white, outlined in black, readable, a bit large and intrusive for a projected image, but for most applications, they should do just fine. Operations & Box Design : 6 After a brief montage that includes letterboxed widescreen images (just to torment us, I assume) we are led to a bare bones menu that permits play of the disc straight through or beginning with the chapter or scene of your choice. It took me some while to notice that the episode number is at the upper left of each set of four scenes. Since the chapter numbers are continuous throughout the entire series, I felt the obscure placement of the episode number to be as unreasonable as it is not intuitive. As noted earlier, YAE was not permitted to change this peculiar structure. Curiously, there is no subtitle submenu. The default is English subtitles, but they can be removed or reinstated from the remote. Extras : 7 The Extra Features in this set (which are not subtitled in the KBS R3 edition) are an indispensable part of this edition. The main function of the 60 minute behind-the-scenes segment is to dramatize and underscore the mid-season popularity of the series. There is really nothing quite like this on American television, fan magazines notwithstanding. Think of Beatlemania, and you have a rough idea of excitement that Winter Sonata would generate over the following two years. Korean tourism in general has gotten quite a boost from series like Winter Sonata and Dae Jang Geum. A short piece on how this series has popularized one or two of the locations - most notably Namiseom (Nami) Island - is not to be missed. To get a quick idea of the extent of the phenomenon, check HERE. Part of this segment is a 30-minute collection of Bloopers. Ordinarily, I find bloopers to be hopelessly inane. The idea would seem to be to show how human celebrity actors can be – not only that they can make mistakes, but to be silly when they do. When American actors goof, they just go immediately into another acting state. By contrast, Korean actors appear to take self-consciousness to an entirely different level. In some ways, I am surprised that they can so easily get into another character, for when the seams show, as happens when they forget their lines or get their hair caught on a tree branch, they are genuinely and delightfully embarrassed. Beyond this, many Korean actors, especially the women, seem uncomfortable to be seen at all outside of their roles, as when they make appearances on fan club TV shows. It isn't that they are afraid of fame or to be shown up as human or commonplace – quite opposite: that they are genuinely bashful – not shy, exactly, but uncomfortable with the acknowledgment of their special talents and the extent to which others are affected by them. It's fascinating to watch them – something like going to the zoo, only I can't shake the feeling that I'm the one in the cage. Recommendation: 10 I watched Winter Sonata for the first time a year ago, and was a little surprised that watching it again so soon would be as engaging – more so, in fact. I shouldn't have been surprised. The story, the settings, and especially its heartfelt performances strike a chord – several, actually – that bears revisiting. Sure, there are fairy tale aspects to Winter Sonata, but that is only part of the attraction, for fairy tales speak to a part of us that is not all that rational. I urge you to not go to your grave without knowing how this part of the world thinks and feels. Along with Dae Jang Geum, Winter Sonata should be an essential part of your cinema experience. LensViews RULES: Given "Random Harvest" I suspect James Hilton would have liked "Winter Sonata". What do these these two stories have in common? The winner, who will receive a free copy of the complete series, Winter Sonata, is: • Robert Cagle Fisher, IL The runners-up will each receive a DVD of episodes 1-3 of a different popular Korean drama (Sorry, the distributor is out of Winter Sonata samplers for the indefinite future.) • Nick S. • Paul K • David C Millersburg, OH

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For: Reviews » DVD Video Reviews » Sample This Sample This Kino // Unrated // December 10, 2013 Review by Matt Hinrichs | posted January 12, 2014 | E-mail the Author At its essence, Hip Hop is all about placing the old and forgotten in a new and different context. In its own obsessive-compulsive way, Sample This uncovers a corner of that universe. For this 2012 documentary, writer-director Dan Forrer spent years investigating the 1973 white-funk instrumental "Apache" by The Incredible Bongo Band - one of the most sampled Hip Hop breaks ever. How this obscure track became a phenomenon in the world of urban deejaying and scratching is an intriguing enough story on its own, and Forrer fills in all the details (perhaps too much) in recounting how this "group" of mostly white session players came to create something with a shelf-life that lasted much longer than anyone anticipated. Narrated by rocker Gene Simmons (a seemingly random choice whose participation is explained in the film), Sample This dashes all over the place in a narrative that encompasses Robert Kennedy's assassination, famed mime Marcel Marceau, b-movie classic The Thing with Two Heads, and two iconic families of yesteryear (Manson and Partridge). As it turns out, Sample This' telling of the The Incredible Bongo Band's formation is a fairly fascinating story in itself (and, despite the DVD's packaging, the Hip Hop angle makes up just a small part of the film as a whole). Those curious about L.A.'s music/entertainment scene in the early '70s would get the most enjoyment out of this - since most of the musicians from the I.B.B. were interviewed, one cannot accuse it of lacking comprehensiveness. The Incredible Bongo Band was the brainchild of Michael Viner, one of those enterprising but not particularly talented men hanging around the fringes of the entertainment biz. As a producer and promoter at MGM Records in 1972, Viner used his limited studio expertise to oversee a funky instrumental score for the Ray Milland/Rosey Grier flick The Thing with Two Heads (Grier, a friend of Viner's, shares a few stories on the making of that opus). One of the tracks from that film's soundtrack LP, a groovy update on Preston Epps' 1959 hit "Bongo Rock," became a hit single in Canada - due to MGM's falsifying its provenance to gain airplay under that country's radio laws. Bolstered by that success, Viner then assembled another group of L.A. session cats - some from "Bongo Rock," some not - to record a full album at Vancouver's Mushroom Studios. Guided by the capable touch of veteran producer Perry Botkin, Jr., the sessions for Michael Viner's Incredible Bongo Band and follow-up LP The Return of The Incredible Bongo Band yielded a bunch of competent, faux-Funk instrumentals (including a most unlikely-ever cover of "Sing Sing Sing"). Among those tracks was "Apache," an upbeat rocker originally performed by U.K. instrumental combo The Shadows in 1960. While the propulsive, percussion-heavy arrangement on "Apache" allowed for impressive playing from drummer Jim Gordon and bongo master King Errisson, it was pretty much just another track on an ephemeral LP of cash-in funk which might as well have been used as background in a Mannix episode. It took a new crowd of crate-digging emcees to transform it - and, specifically, "Apache" - into art. Although Sample This doesn't delve into the song's afterlife with the same zeal as the recording of it, the doc does contain expert testimony from Hip Hop legends like Afrika Bambaataa and DJ Kool Herc. Along with ?uestlove of The Roots, they're here to explain the concept of Breaks - the perfect, minimalist beats-and-yelps snippets from old records which form the bedrock for many a Hip Hop track. Sample This stands out amid music docs simply for being so ultra-specific, and it's generally well-made enough to keep up interest in the often arcane stuff it delves into. If you're seeking out everything that went on during The Incredible Bongo Band's short lifespan, this is the film for you. The central subject would have made for a better hour-long project, however - about a third of its 83-minute running time is padded out with unnecessary asides. Anecdotes about the personal life of Michael Viner (who died in 2009) and the sad, post-Bongo fate of the outfit's brilliant drummer Jim Gordon detract from the main point. These tangents, intriguing as they are, have a tenuous connection with the Bongo Band, and none at all with Hip Hop. The DVD: The 16x9 widescreen image on Kino Lorber's DVD edition Sample This sports a nice, clean look with good color saturation and pleasantly balanced light/dark levels. The photography sports the antiseptic feel common to digitally shot projects, but it's spiffy and super-slick. Vintage clips are all over the place, quality-wise, but I'm happy to report that they used excellent, pristine-looking footage for the films discussed (for a kreppy '70s flick, The Man with Two Heads looks brand new). The Sample This DVD sole audio track is a simple yet clean stereo soundtrack, a professional sounding mix with pleasant balance between dialogue and music. Considering the amount of archival audio used, there isn't a whole lot of hiss or distortion. No subtitle track is provided. Phfft. The only extra here is a text-only About Kino Lorber page. How is it even conceivable that one of the cornerstones of Hip Hop music had its origins with an ad-hoc group of L.A. session cats jamming in the ghettos of Vancouver? With an insane attention to detail, Sample This tracks the recording and unlikely afterlife of 1973's "Bongo Rock" by The Incredible Bongo Band. The film is solid rental for Pop Culture ephemera hunters, although be aware that much of its 83 minutes is spent on topics that have nothing to do with Hip Hop - or even music in general. Rent It. Matt Hinrichs is a designer, artist, film critic and jack-of-all-trades in Phoenix, Arizona. Since 2000, he has been blogging at Scrubbles.net. 4 Color Cowboy is his repository of Western-kitsch imagery, while other films he's experienced are logged at Letterboxd. He also welcomes friends on Twitter @4colorcowboy.

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Only in America with Larry the Cable Guy Volume 2 A&E Video // Unrated // $19.95 // April 17, 2012 Review by Aaron Beierle | posted May 24, 2012 The premise of "Only In America With Larry The Cable Guy" is similar to Mike Rowe's "Dirty Jobs,": Larry the Cable Guy goes beyond jobs and searches out unique and interesting history across the country. Calling it educational is a bit of a stretch, but it does offer some interesting tidbits of history (talking about a company that put gold flakes in cereal, he manages: "Who says skidmarks aren't worth somethin'?") from various points around the country as Larry looks into things like mining for gold. While I was never a fan of Larry's comedy, I have to give the guy credit for managing to tweak his redneck formula enough to fit into a show like this - and he's like Mike Rowe in the way that he occasionally tries to flirt with women. While "Only In America" isn't History Channel's familiar fare (after all, I remember growing up watching History Channel when the series were somewhat dry, though engaging and informative education pieces), it does a nice job of finding balance between history and entertainment the whole family can enjoy. It's a way of entertaining the kids, and yourself, while learning some new facts about jobs around the country. Though not as great as History Channel's other reality show, "Pawn Stars," the show does deserve some credit for managing to insert some relatively interesting historical tidbits throughout each episode. As for Larry the Cable Guy, I've never been a fan, but this series presents him in a different manner and it works reasonably well. He shows genuine interest in the people he's interviewing, as well as their hobby/trade. Additionally, like Rowe, he's not afraid to jump right in and be a part of the action. LLarry's persona is not left behind for the series, but with "Only In America," it becomes less in-your-face, "git-r-done", and more entertaining and involving due in part to his ability to interact with everyone he meets. While not every segment is totally engrossing, each episode does manage to include some interesting facts and entertainment that help balance the series as a whole. Some of the highlights include the previously mentioned gold mining episode, "Larry Digs For Gold" (which provides a good overview of mining, both venturing deep into the mines to looking at the above-ground operations), "Larry Is Amish" (because that's just actually a genuinely funny set-up) and "Larry is a Logger". Larry visiting the land of dairy also proves interesting in the elegantly-titled "Larry Cuts the Cheese", as the comedian visits Wisconsin to learn about making cheese. "Only In America With Larry The Cable Guy," is being released in volumes, which means there are only ten episodes and unfortunately there are no extra features. I wasn't a fan of Larry going in, but this series puts him to better use than a number of his prior projects (the series is certainly much easier to sit through than "Larry the Cable Guy: Health Inspector"), and I found some decent-to-good laughs scattered throughout the episodes. This set offers 11 episodes. VIDEO: The series is presented by Newvideo in 1.33:1 full-frame. Image quality is perfectly acceptable, with reasonable clarity and detail throughout the running time. Colors remained warm and clean, with no smearing or other faults. Overall, the presentation resembles broadcast quality. SOUND: The show's 2.0 audio remained crisp and well-recorded. Some mild background ambience was clearly heard during the outdoor scenes. EXTRAS: None. I can't believe there aren't some outtakes or deleted scenes laying around that could have been included here. Final Thoughts: While it's not great television, "Only in America" is better than expected, offering some enjoyable takes on history and culture in various US locations. Larry the Cable Guy is still Larry the Cable Guy, but in a manner that's a little less "Git-R-Done". This volume offers some better episodes ("Larry is Amish") than the prior edition. Rent it.

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Listen to 'Rolling Stone Music Now' Podcast: Green Day Talk New LP "Bang Bang" Lyric Video STAFF PICK AT VIMEO Green Day - Bang Bang, NME Best New Tracks NEW ISSUE OF KERRANG! FEATURING GREEN DAY OUT NOW Broken Guitars Merch Now Available Pages1 'AMERICAN IDIOT' RAGES THROUGH MILLER AUDITORIUM March 25, 2013 KALAMAZOO, MI -- Jenna Rubaii didn't need to do much homework for her role as The Extraordinary Girl in the touring production of "American Idiot." The two-time Tony Award winning musical is based on the Grammy Award-winning album of the same name from Green Day and frontman Billie Joe Armstrong. "American Idiot" will come through Kalamazoo at 7:30 p.m. on March 26 at Miller Auditorium. It features popular songs from the punk band. The 23-year-old Rubaii, who graduated last spring from the University of Miami's Department of Theatre Arts, said she knew the band well. "I grew up listening to punk rock in middle school and loved going to the Warped Tour and going to gigs all the time. I was definitely a Green Day fan before the show. I find it really exciting to be part of this and sing their music," she said. The rock opera originally opened at the Berkeley Repertory Theatre in 2009 before moving to Broadway, where it premiered in the spring of 2010. It ran for more than 400 performances, including some where Armstrong played the character St. Jimmy, a wild drug peddler who is a manifestation of the main character, Johnny. The story from the concept album is about three childhood friends -- Johnny, Will and Tunny -- who are anxious to leave their California suburb shortly after the Sept. 11 attacks. They decide to move to the city, but Will is unable to go as his girlfriend becomes pregnant. Tunny loses interest in the city and eventually joins the military, while Johnny experiences drug problems and lost love. The touring musical is intense and physically strenuous on the cast, her part in particular, Rubaii said. Rubaii's character is a nurse who meets Tunny (Thomas Hettrick) in the hospital after he's wounded in the war. During one of his dreams, the two fly high above the stage. Rubaii said they spent three days in Las Vegas in July learning the basics of flying. Some of the movements aren't difficult to pull off, such as flips, but landing on a hospital bed without making it look sloppy proved tricky, she said. "We just found practicing over and over has been the biggest help with making it look easy," she said. The musical is controversial and in-your-face at times, Rubaii said. In some cases, the cast has seen people walk out. “We accept that that’s going to happen a lot. It's different from city to city,” she said. But for fans of Green Day and Armstrong who know what to expect from the production, it can be a raucous night of high-energy theater with hits including "Boulevard of Broken Dreams," "21 Guns" and "Wake Me Up When September Ends." "I think when people come to see it, be prepared to rock out. We love an audience that’s enthusiastic. We feed off their energy," Rubaii said. For more information, call 269-387-2300 or go to www.millerauditorium.com. Full article and slideshow at MLive.com: HERE Comments (0) Tweet Filed under: General 0 Submitted by Brian on March 25, 2013 KALAMAZOO, MI -- Jenna Rubaii didn't need to do much homework for her role as The Extraordinary Girl in the touring production of "American Idiot."

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Looks like Thor might be searching for a strange doctor in 'Thor: Ragnarok' Black Widow's childhood was more messed up than we thought, according to 'Civil War' novel Netflix greenlights comedy 'Friends from College' w/ Fred Savage, Cobie Smulders Has spoiler culture spoiled pop culture completely at this point? Credit: Motley.com Motley Crue hits Sin City in February for 12-date residency Tommy Lee, Vince Neil and the boys will take over the Hard Rock Casino Melinda Newman | Friday, Dec 2, 2011 12:24 PM Motley Crue is the latest act to take up a residency in Las Vegas. The “Girls, Girls, Girls” band will play 12 shows at the Hard Rock Hotel & Casino's The Joint between Feb. 3 and Feb. 19. “The show we are putting together right now is something that we have never done in our lives,” lead singer Vince Neil said during a teleconference on Nov. 30. “Since it’s a stationary show, and doesn’t have to move around, we can do all kinds of stuff that we’ve only really dreamed about.” He added that “this show that we’re putting together isn’t a traditional Vegas show-you’re not going to go sit in a seat and then stare at the band and wait for the band to come on. You know, this is an interactive show we’re putting on which is it’s going to encompass the whole venue.” Anticipating that fans will attend more than one show, drummer Tommy Lee added that the band intends to mix up the set every night. “I would imagine our plans are probably to switch it up because, if you’re doing a Friday, Saturday, Sunday there, chances are, there might be some people coming in to see, two shows or maybe even three, you know, while they’re there for the week.” An offer has been on the table for while, said Neil— who lives in Las Vegas— but the band had declined until now. “Actually just the timing was right. it was we got the offer, and we’re putting together our plans for 2012 and this starting in beginning of February just worked out perfect for the timing about what Motley Crue is actually doing." Santana has also done a residency at the Joint at the Hard Rock, but Las Vegas residencies have tended to focus more on veteran pop acts like Elton John, Celine Dion and Rod Stewart, or country acts like Garth Brooks. Neil hopes the residency could lead the way for other hard rock bands to come to Las Vegas. “I think it really opens the doors for other bands, for the casino owners and managers to say, ‘Wow, this really works and this could be something.’ And they can get in some other way-cool bands and start doing the residencies also. So it’s going to open a lot of doors for bands in this city.” The band will take up residency in Las Vegas in mid-January for rehearsals. Tickets go on sale Dec. 3 at motley.com. Ticket prices on sale now in a pre-sale for American Express card members range from $81-$41. The residency will include Valentine’s Day, which Lee, the romantic, is already looking forward to. “Man, I could just imagine, you know, people bringing in their, you know, girlfriends, wives, hookers, whatever they’re doing in Vegas to a show,” he joked. “ So I’m sure we’ll, you know, tailor something specific to that day.” Motley Crue, which is celebrating its 30th anniversary together, is also in the very early stages of working on a new album. Lee said the members are writing individually and then “we’ll throw all of our music in a pile when it becomes time and we’ll get at it. “ Related What should we expect — or want — from 'The Night Of' finale? Motley Crue, Las Vegas, Hard Rock Casino, The Joint, Tommy Lee, vince neil Do You Remember These Actors From Six Feet Under? Halt and Catch Fire - Gordon Gives Advice

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12:09pm PT Lesley Goldberg Zachary Quinto Returning to FX's 'American Horror Story' Zachary Quinto and Jessica Lange He joins Jessica Lange in the upcoming second season, which will feature a new cast, story and location. The Season 2 cast of FX's horror anthology series American Horror Story is beginning to take shape. Following a four-episode guest stint as one of the haunted abode's former residents, Zachary Quinto will return as a series regular in the upcoming sophomore season of the Ryan Murphy and Brad Falchuk drama, The Hollywood Reporter has confirmed. Quinto joins Season 1 SAG and Golden Globe award winner Jessica Lange as cast members set to return to the series, with co-creator Murphy confirming her return early last month. Following its breakout freshman season that featured the deaths of the Harmon family (played by Dylan McDermott, Connie Britton and Taissa Farmiga) who moved into the haunted L.A. abode, Murphy told reporters that Season 2 will feature an entirely new setting, story and cast. During a visit to Bravo's Watch What Happens Live with Andy Cohen last month, Murphy said he was in negotiations with "four of the people who were on last year's show" but confirmed the Harmon trio would not be among them. Murphy is expected to announce additional cast members for the horror anthology series Friday at the opening night of PaleyFest 2012 in Los Angeles. American Horror Story, which likely will return in October, will take place in an East Coast mental institution and center on Lange's new character. (In Season 1, she played the nosy, all-knowing Constance, who lived next door to the evil property.) "We have designed the second season of American Horror Story completely around [Lange's] character,” Murphy told EW. "We are designing this amazing new opposite of the Constance character for her. She and I have spoken about different things. She has a lot of ideas and has a lot of input into her character." Who else would you like to see return to American Horror Story? Email: Lesley.Goldberg@thr.com; Twitter: @Snoodit

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50/50 (2011) On one of the cubicle walls in the Seattle Public Radio offices, there is a small clipping visible from the free Seattle weekly newspaper "The Stranger." 6 of 28 found this interesting Spoilers (2) Joseph Gordon-Levitt actually shaved his head during filming. He and Seth Rogen were improvising in character while the cameras kept rolling, since the scene was not in the script. 259 of 260 found this interesting Adam is based on writer Will Reiser, who was diagnosed with cancer and later recovered. Seth Rogen, who plays Kyle, helped Reiser cope with his disease and convinced him to write a screenplay during their early 20s together. 179 of 180 found this interesting James McAvoy was cast as Adam, but had to drop out due to personal conflicts. Joseph Gordon-Levitt replaced him after being called by Seth Rogen less than a week before shooting was scheduled to start. He accepted the role just two days before. 155 of 156 found this interesting Seth Rogen says he was actually on the toilet when Will Reiser told him he had cancer. As funny as the two of them thought this was, it was deemed too disgusting for the film. 131 of 132 found this interesting When Adam is listing things he has never done, one of them is that he has never visited Canada. That scene, as well as the majority of the rest of the movie, was shot in Canada. 165 of 167 found this interesting Writer Will Reiser makes a cameo during Adam's party. He tells Adam, "My Uncle had what you have." 96 of 98 found this interesting During a roundtable discussion with the cast, screenwriter Will Reiser revealed that Bryce Dallas Howard came up with the title of the film. The crew was skeptical about it when she first suggested it to them on the set of the art gallery scene. When she found out that the title had been changed to the one she suggested, she was surprised. 72 of 73 found this interesting During a 2011 interview with "The A. V. Club," Anna Kendrick said that, while on the set, she often referred to her character as "the worst therapist in the world." 76 of 81 found this interesting The original screenplay was titled "I'm with Cancer." 22 of 23 found this interesting The suspension bridge seen in the opening scene is Vancouver's Lions Gate Bridge. This scene was shot at Stanley Park, where you can see the Burrard Inlet as well as the bridge. The bridge is the namesake for Lionsgate Entertainment, the studio that backed the film. 30 of 33 found this interesting While being interviewed by Terry Gross on her National Public Radio program "Fresh Air," Will Reiser said that he gave Adam's character a job at a Seattle NPR station because Reiser is a big fan of NPR, but he had not ever donated any money to any of their pledge drives. 29 of 35 found this interesting The screenplay for this film was featured in the 2008 Blacklist, a list of the "most liked" unmade scripts of the year. 16 of 18 found this interesting Actors Matt Frewer and Philip Baker Hall have both played cancer patients in previous films, Watchmen (2009) and Magnolia (1999). 30 of 39 found this interesting 50/50 (2011) is Joseph Gordon-Levitt's second film beginning with the numbers 5-0. He previously starred in 500 Days of Summer (2009) in 2009. Levitt was nominated for the Golden Globe as Best Actor in a Comedy film for both movies, and both films earned a second nomination as Best Comedy at the same award. 53 of 90 found this interesting Kyle's (Seth Rogen) license plate is YVR 515. YVR is the airport code for Vancouver, BC (Canada), where the movie was shot. 19 of 39 found this interesting Nicole Holofcener was originally attached to direct. 7 of 13 found this interesting When Adam is waiting for the bus and Katherine comes across, the advertisement on the bus stop reads, "Only you can prevent wildfires." 9 of 75 found this interesting Spoilers The trivia items below may give away important plot points. Summit Entertainment wanted a kiss between Adam (Joseph Gordon-Levitt) and Kathryn (Anna Kendrick) at the end of the film. However, the actors and crew agreed that it would not feel right since they felt the movie was about the main character's journey with cancer, rather than a love story. They almost filmed the scene to appease the studio, but Levitt pointed out that "If they gave the studio the option, they would use it," so they just refused to film it. 172 of 175 found this interesting Kyle applies medicine and jokingly plays around with Adam's back wound. Seth Rogen did the same thing to screenwriter Will Reiser, who was diagnosed with cancer in his early 20s. 129 of 132 found this interesting 50/50 Did You Know? Actuele lijst Best 25 Movies of 2011 Watched 2015

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Archives | Rene Auberjonois / By Corey Gilmore Blood Stripe A U.S. Marine sergeant returns home from her third tour of duty in Afghanistan unable to sleep and wracked by paranoia and anxiety. Feeling disconnected from her home life with her husband and friends, and frustrated by an inept Department of Veterans Affairs, she retreats deep into Minnesota’s North Woods. There she seeks refuge at a picturesque summer camp with a plainspoken overseer and a local fisherman, but her deep emotional wounds continue to overwhelm and traumatize her. May 27, 2016 10:42 am / / By Indiewire Team Brewster McCloud Brewster is an owlish, intellectual boy who lives in a fallout shelter of the Houston Astrodome. He has a dream: to take flight within the confines of the stadium. Brewster tells those he trusts of his dream, but displays a unique way of treating others who do not fit within his plans. / By Indiewire Team McCabe & Mrs. Miller A gambler and a prostitute become business partners in a remote Old West mining town, and their enterprise thrives until a large corporation arrives on the scene. / By Indiewire Team The Player A studio executive is being blackmailed by a writer whose script he rejected but which one? Loaded with Hollywood insider jokes. / By Indiewire Team MASH One of the world’s most acclaimed comedies, MASH focuses on three Korean War Army surgeons brilliantly brought to life by Donald Sutherland, Tom Skerritt and Elliott Gould. Though highly skilled and deeply dedicated, they adopt a hilarious, lunatic lifestyle as an antidote to the tragedies of their Mobile Army Surgical Hospital, and in the process infuriate Army bureaucrats. Robert Duvall, Gary Burghoff and Sally Kellerman co-star as a sanctimonious Major, an other-worldly Corporal, and a self-righteous yet lusty nurse.

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Archives | IndieWire / By Indiewire Team Ted Family Guy creator Seth MacFarlane brings his boundary-pushing brand of humor to the big screen for the first time as writer, director and voice star of Ted. In the live action/CG-animated comedy, he tells the story of John Bennett, a grown man who must deal with the cherished teddy bear who came to life as the result of a childhood wish, and has refused to leave his side ever since. / By Indiewire Team Ted 2 Newlywed couple Ted and Tami-Lynn want to have a baby, but in order to qualify to be a parent, Ted will have to prove he’s a person in a court of law. / By Indiewire Team A Million Ways to Die in the West A cowardly farmer seeks the help of a gunslinger’s wife to help him win back the woman who left him.

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Print Email Font ResizeSmart-guy roles come easy for Benedict CumberbatchBy Rebecca Keegan Los Angeles Times Posted: 08/28/2014 04:09:57 PM PDTDuring his summer trip to Comic-Con in San Diego, Benedict Cumberbatch took time out to chat about some of the many brainy characters he plays -- from the title detective on the BBC's "Sherlock" and the World War II code breaker Alan Turing in the upcoming movie "The Imitation Game," to Hamlet onstage and an animated wolf in "Penguins of Madagascar." Here are excerpts from the conversation:Q You're here for "Penguins of Madagascar," an animated movie in which you voice a wolf who looks like he's the brains of the operation. Have I got it just about right? A Kind of. He's the leader, the alpha wolf of the pack, so to speak, and does things in a polar opposite way, pun intended, to the penguins. Benedict Cumberbatch in the title role of "Sherlock." BBC One. Q I've noticed you often play really smart guys -- Sherlock, Julian Assange ("The Fifth Estate," 2013), Alan Turing in this movie coming up, the famous code breaker, and I wonder, do you have an "I'm a genius thinking really hard" look? A Definitely. (Cumberbatch furrows his brow and rests his chin in his hand.) No, it changes. It's about the character. I've been very, very fortunate that there's something going on behind my eyes so that it looks like I'm ... encompassing the brilliance of their minds and ability to concentrate. But you know, I have a very superficial, skin-thin understanding of the science. ... It's just about finding the humanity in all of that. Brilliant people have private moments of self-doubt and things which we could all relate to, but they also have these extraordinary moments of discovery or pioneering brilliance that pushes the envelope in how we view the world. I try not to pull faces -- if I do, it has to be something with the character. Advertisement Q Darn, so you're not really just thinking about what you're having for lunch? A Yeah, exactly -- "Why did I eat that cheeseburger? I should have stuck to the salad." Actors often have that kind of a feeling, especially on stage when you're struggling through the weirdness of your day and you're doing the play for the umpteenth time in a long run. That's very often something that happens. Your mind drifts, and you think, "I forgot to buy the cheese in the supermarket!" You have to be careful of those mundanities creeping in, because they can play havoc with your concentration. Q Speaking of the stage, you're going to be playing Hamlet in London next year. What does that particular role mean to you? A A lot. It's something that's been in my life for a long time. I was offered it at school and turned it down to do my "A" levels and try and get some decent grades. ... I'm of an age now (38) where I think it's now or never, and I've found the right director ... this brilliant female director called Lindsey Turner, who's just a phenomenon. I think she's the greatest director of her generation, I'll be that bold. And she's a good friend and great collaborator. We've been talking about it for over a year already, and we don't even start rehearsals until next June. Benedict Cumberbatch as Alan Turing in "The Imitation Game," opening this fall. Weinstein Company. Most actors -- "Hamlet" appeals to them initially because it feels like an everyman part, which it is, to an extent. You have to bring a lot of yourself to it. ... The other appeal is the amount of direct communication you have with your audience. There's such a large portion of it where you become very intimate. You should care about him a lot, but he should make you laugh as well as feel things. He has, as a lot of Shakespeare's characters do, wonderful insights into human nature and certain problems with the human condition -- whether it's depression or anxiety, or the idea of not being able to do something or being inactive, being powerless -- and how to treat that with humor, self-laceration, anger and action and then this incredible journey to a point where he's just calm, where there's this very Buddhist, "let it be" quality -- to an acceptance, really, of fate. Q Like Hamlet, Sherlock is a role many actors have played. What do you think it is about that character that has resonated for so many generations?A Well, he's the original. He's the blueprint for all detectives. The ability to analyze a situation and come to a conclusion, this incredible mental agility he has through hard work and application, is something that's also humanly obtainable. He's not superhuman. There's no trickery to it. Some of the plot points, some of the deductions stretch credulity a little bit, but it's something that, if you worked hard enough at, you could actually do yourself. In our version in the 21st century, he has to think and work at the speed of multimedia and modern forensic science. Being an original and always a modern man in his time in the original inception of the tories, he was the first to (cast) footprints, analyze cigarette ash into concrete evidence of someone's guilt. All of these things -- they're not tricks; they're hard-learned skills. That, in our version, has to be ramped to another degree. And also you get to see a guy who's just slightly on the edge of being different, and he's a hero for people who feel they are slightly different or maybe slightly on the edge of society. Q Last question: You could walk the halls of Comic-Con dressed as anyone you want. No one would recognize you. A John Malkovich! He's here. So why isn't everyone wearing Malkovich Malkovich Malkovich Malkovich Malkovich. We've seen the film right? Let's do it. Let's Spike Jonze it. I'm up for that.Print Email Font ResizeReturn to Top RELATED Please enable JavaScript to view the comments powered by Disqus.

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Point Break (2015) Trailers Point Break (2015) Gallery Point Break Remake: Producers Promise "Extraordinary Footage" Joel D Amos April 7, 2014 12:15 pm. It was recently announced that Point Break was getting a remake and that Gerard Butler would be Bodhi and Luke Bracey will be Johnny Utah. While at the press day for Transcendence starring Johnny Depp, Alcon producers Broderick Johnson and Andrew A. Kosove gave us an update on where they’re at with the Point Break redo. And it seems, they’ve already started shooting and it is the “greatest footage we’ve ever gotten at Alcon.” The film features the relationship between Bodhi and Utah as its central core, but the extreme sports nature will be greatly expanded. The adrenaline junkies will not just be knocking off banks in L.A. as the original did. They will circle the globe and as such, visuals of them snowboarding in Europe, surfing in Australia and more, Johnson promises, will blow audiences away. “We’ve shot some extraordinary footage with our surfers. And we were in the Italian Alps with the greatest extreme snowboarders in the world, shooting footage. We’ve actually been in photography on the film, beginning our stunt work with our real athletes,” Johnson said. “This is a movie with a lot of stunts and no stunt people in it because the stunts are way too dangerous for people who are stunt people. We have real athletes who do this, like Jeb Corliss, who’s the greatest wing-suiter in the world. His team will be doing work for us, over the summer, in Switzerland with motocross.” Johnson also admitted that Butler and Bracey will get to work this summer. “Principal photography starts in June,” he said. When asked about the story and its parallels to the Kathryn Bigelow-directed original, the producers said that there will be many similarities in terms of the “bromance,” but that it will greatly expand on many levels. “The script only shares in common with the original the characters and the nature of the character dynamic between Utah and Bodhi. Everything else about the movie is different. While we do have surfing in the film, it is only a subset of the extreme sports that we deal with, including free-climbing, motocross, wing-suiting and so forth,” Johnson said. Proof of that is seen even in these Point Break quotes. The landscape of Point Break is also expanding. “The movie is being shot in 10 countries across the globe.” Johnson was clearly taken with Bigelow’s original and said that it was “really ahead of its time.” This was a film that predated the X-Games! “That was really at the infancy of what extreme sports would become. This movie is on a much broader scale around the world, and the narrative of the movie is completely different. What we found fascinating about the original film, and is preserved in this, is the character work and the relationship between Bodhi and Utah, who are these two gentlemen on opposite sides of the law, but yet, at the same time, share a common bond. That’s the one element that the two movies share.” Given the expansion of 3D technology in the time since the original, we wondered if the film would be shot in 3D, or even presented in 3D. “We won’t shoot it in 3D. We’ll convert it,” Kosove said. “One of the benefits of the smaller cameras is that you can really put the audience in with the action. When you start shooting in 3D, the camera rigs are very large.” But, will there be criminals sporting presidents' masks in this Point Break?! “Maybe -- it’s tricky,” Johnson said. “We’ve thought about this a lot because the world of remaking movies, in truth, is a pretty risky proposition. A lot of them don’t work, as we have been regularly reminded. So, the question then becomes, ‘What’s the raison d’être for remaking a movie that wasn’t a giant hit, but is an iconic film that many people have seen?’ I would argue that the difference is that the world in which a Point Break can exist today, as compared to almost 25 years ago, is profoundly different,” Johnson said. “Then, it was a few guys surfing in the Santa Monica bay and robbing a couple of banks, as compared to what Jeb Corliss does or what these big wave surfers do today. So, we felt that we truly could remake the movie in a completely unique and different way than the original film, and that’s why we’ve decided to do it. But the character work in the original film, which ultimately sustains any movie, no matter how glorious the bells and whistles are, and the bromance, is fascinating. That is a central part of our story, even though everything else about it is different.” Check out why we love the original so much when you watch Point Break online. Like Movies? and receive the latest movie news delivered to your inbox for Point Break (2015) Trailer Point Break (2015) Photos Movies Point Break (2015) Point Break Remake: Prepare for The "Extraordinary" © 2016 Movie Fanatic Are you a Movie Fanatic? Sign up for our daily newsletter to receive personalized movie news for No thanks. I hate movies.

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Opinion Print Email Font ResizeIndian film awards arrive in Tampa, Fla., but why?Tamara Lush Associated PressPosted: 04/22/2014 04:04:00 PM EDTClick photo to enlarge«1»TAMPA, Fla. (AP) — The so-called Bollywood Oscars have been held in Macau, Singapore, London — and now, Tampa? Starting Wednesday, hundreds of Indian film stars and thousands of Bollywood fans are expected to flood this city for the International Indian Film Academy's awards extravaganza, four days of song-and-dance performances and movie screenings. The event caps off with the awards ceremony Saturday. Even though Tampa has hosted four Super Bowls and the 2012 Republican National Convention, its small Indian population makes it an unusual choice for the awards. The event has been held in big cities across the globe as the success of Bollywood has grown, but it's the first time in its 15-year history that the group has gathered in the United States. About 800 million people will watch the ceremony on television or the Internet, according to organizers. Shades of Bollywood are everywhere in the area. The top floor of the Tampa International Airport parking garage was transformed into a reception area for Bollywood bigwigs and autograph-seeking fans. Shahid Kapoor, an actor with 4 million followers on Twitter, arrived to a small crowd at the VIP area Monday. He is scheduled to co-host the awards ceremony. Elsewhere, security was trained on how best to handle enthusiastic fans and service workers were taught how to accommodate Indian visitors (tip: "just because you don't recognize them, doesn't mean they aren't famous").Advertisement Tampa was chosen because city and tourism leaders were aggressive. Sabbas Joseph, the director of the academy and entertainment company Wizcraft International, said Tampa officials even took a few jabs at the competition, telling him: "Orlando mice, Miami Vice and Tampa nice." Tourism leaders are thrilled and hope to draw more wealthy Indian tourists to the area. Some 30,000 people are expected. Hollywood superstar Kevin Spacey will teach a master acting class and John Travolta will be honored at the awards show as the "Most Popular All Time International Star In India." Santiago Corrada, the president and CEO of Visit Tampa Bay, the area's tourism arm, said a private donor gave about $9 million to help bring the awards to the area. The county and state provided about $1.1 million to promote the event and market Florida. The city has shown there's an appetite for Indian glitter and glam, despite having a small Indian-American population. Cheap seats at Raymond James Stadium, usually where the Tampa Bay Buccaneers football team plays, start at $93. Pricier options run all the way up to $3,295. Nearly all of 25,000 available tickets have been sold. The average U.S. moviegoer might not be able to name a Bollywood flick that isn't called "Slumdog Millionaire," which won the 2008 Academy Award for Best Picture. But that could change, with movies such as "The Lunchbox," a quiet romance from 2013 set in Mumbai. It won the Critics Week Viewers Choice Award at Cannes. "We want to make people aware of Indian cinema," said Deepika Padukone, an actor who has more than 5 million followers on Twitter and was named the "world's sexiest Indian" by the Indian edition of FHM magazine. That's not to say Bollywood is struggling. With a population of 1.2 billion people, Bollywood films can quickly become a box office smash based on sheer volume. Plus, labor and marketing costs are cheap compared to U.S. films. The average U.S. flick costs $47.7 million, while the average film in India costs about $1.5 million to make, said Uday Singh, the chairman of the Los Angeles India Film Council. "Bollywood" is the term for the film industry based in Mumbai (Bombay). Although it is used mostly to refer to the lengthy song-and-dance movies in the Hindi language, it's become somewhat of a catchall term for Indian films. India is a large country with many different languages, religions and customs, and its films reflect those cultures — not every movie from India is a Hindi musical. The Indian industry makes more than four times as many films as Hollywood, Joseph said, and sells 3.6 billion tickets a year. That's enough movie tickets to get more than half the world's population inside a theater, and about a quarter of those were sold in North America. "That was a factor in choosing America for IIFA," said Joseph. "It's extremely important to us. It's where we believe the future lies." ——— Follow Tamara Lush on Twitter at http://twitter.com/tamaralushPrint Email Font ResizeReturn to Top RELATED

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2008-08-22 / Entertainment/Lifestyles Rockaway Resident Takes The Stage Third-Grader Makes Her Manhattan Theatre Debut By Christine Cea Emerald Angel Young "Nine going on twenty-nine" is how Emerald Angel Young, called Emma by her mother, refers to herself in an interview with the Sonnet Repertory Theatre. Bursting with energy and enthusiasm, the young actress recently made her Manhattan debut. The third-grader has claimed the role of Puck in Sonnet Repertory Theatre's production of A Midsummer Night's Dream, with eleven performances taking place in midtown, in late July. But this one role is just another accomplishment the young star can add to her list. As reported in The Wave, Young won Miss New York in August 2006, beating 137 other candidates, and then she was crowned National American Miss in the Princess Division in November. Now Young is on to bigger and better things, and has the personality to back her desire. When asked what she seeks to do when older, she zealously exclaims that she wants to be an actress and an entertainer. "The T.V. type," she responds when asked what type of acting; and when questioned what she meant by entertaining, her answer is, "making people laugh and feel good inside." She suggests the name "The Emerald Show." The St. Rose of Lima student is reported to be earning straight A's. Her favorite subjects are math and music, and now she has taken on a role in classical theatre. The Sonnet Repertory Theatre aims to produce classical plays, for both entertainment and educational purposes. Founded by a number of graduates of the North Carolina School of the Arts, the company has been producing shows since 2002. The theatre also offers a variety of workshops in the performing arts. "Classic theatre for the modern planet" is how the website describes the company. Sassy and youthful Young seems to fulfill this goal as she takes on the character of Puck, a role that is extremely playful and mischievous. When asked about the role, Young answers with a smile, as she claims that she is somewhat like Puck. "I'm not saying I'm bad ...," she says with a giggle. "I'm loving though, a little bit mysterious, though!" she says with laughter. Return to top

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Sarandon says she was Bowie's lover Susan Sarandon once dated David Bowie Actress Susan Sarandon has revealed she and David Bowie were lovers, describing him as "extraordinary". The 67-year-old Thelma And Louise star said her time with the British rock star in the early 1980s was "a really interesting period". In an interview with The Daily Beast website Susan, who is promoting her latest film The Last Of Robin Hood, showered Bowie with compliments. "He's worth idolising. He's extraordinary," she said. "(He's) just a really interesting person, and so bright. He's a talent, and a painter, and... he's great." Susan said the pair, who got together during their time filming The Hunger in 1983, parted ways as she did not want children. She said: "I wasn't supposed to have kids, and I'm the oldest of nine and had mothered all of them, so I wasn't ever in a mode to where I was looking to settle down and raise a family, so that definitely changes the gene pool you're dipping into."

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Celebrity Livewire January 2003 Jason Lee Actor Jason Lee stars with Julia Stiles and Selma Blair in A Guy Thing, the story of a good guy who wakes up after his wild bachelor party and can’t remember the night before. Soon his lies are spiraling out of control and his entire life is a series of comical misunderstandings. Jason’s next film, Dreamcatcher is also opening in theaters soon. Juliette LewisActress Juliette Lewis (right) was nominated for a 2003 IFP (Independent Feature Project) Independent Spirit Award, also known as the Indy Oscars, in the category of Best Supporting Female, for her work in HBO’s Hysterical Blindness with Uma Thurman. Leah ReminiActress Leah Remini is the voice of Vixen in the U.S. version of BBC’s animated Christmas special Robbie the Reindeer, shown this holiday season on CBS. Robbie the Reindeer is the story of Rudolph’s son Robbie as he attempts to secure a position in Santa’s team through a grueling reindeer olympics. Other actors lending their voices to the U.S. version include Ben Stiller as Robbie, Britney Spears as Donner, Jerry Stiller as Old Jingle, and Hugh Grant as Blitzen. Danny MastersonActor Danny Masterson from That `70’s Show just signed a new contract, along with fellow cast members. That `70’s Show has been picked up and will be on through 2004. Old SchoolLuke Wilson, Will Ferrell, Vince Vaughn, Juliette Lewis and Leah Remini star in Dreamworks’ Old School, the story of three men who relive their college days by opening a fraternity. Lynsey BartilsonActress Lynsey Bartilson and children of the “Set a Good Example Club” rode the Way to Happiness float in this year’s annual Hollywood Blockbuster Spectacular. Sponsored by the Concerned Businessmen’s Association of America, the float was a tribute to children who help the nation by forwarding the ideals set forth in L. Ron Hubbard’s booklet, The Way to Happiness. Jennifer AspenActress Jennifer Aspen has had a string of guest starring roles on some of television’s most popular shows, including CSI: Crime Scene Investigation, Friends, The Agency, and The King of Queens (which stars Leah Remini). VH1: Top 100 Greatest Love SongsVH1 recently aired a 5-hour, 5-day special documenting the top 100 greatest love songs of all time, hosted by Jennifer Love Hewitt and narrated by Isaac Hayes. Making the list at #62 was “To Be With You” by Billy Sheehan’s former band Mr. Big. Also on the list at #21 was “You’re The One That I Want” by Olivia Newton-John and John Travolta. back top of section News E-mail: ccint@scientology.net > Personality Test > Glossary > Related Sites > CC Int. RSS Feed > L. Ron Hubbard > Scientology > Scientology News > Dianetics > Link to Us > Scientology Church Locator Church of Scientology Celebrity Centre International All Rights Reserved. For Trademark Information on Scientology Services. Celebrity Centre International

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Get Ready For 'Game Of Thrones' Season Three With This Brand New Trailer Patrick Hyland It's no secret. Game Of Thrones is kind of my favorite thing ever. And after this awesome new trailer - can you blame me? There's no other way to say it - the newest voyage of HBO's flagship series is going to be EPIC. Game of Thrones is about to enter it's third season, and one of the most well received and well funded HBO series to date, surpassing the entire budget of Rome in it's first season. Game of Thrones is famous for bringing viewers into the intricate and dangerous world of Westeros, where politics and secrets are as deadly as swords and axes. The season premier of Game of Thrones debuts on March 31st at 9PM. If you're a little lost, or new to the series, Starpulse has you covered. Check out our comprehensive and in-depth list of Game of Thrones characters, HERE. #game of thrones Show Comments () See What the 'Game of Thrones' Cast Looked Like Before The Series Started Here's What 22 'Game Of Thrones' Stars Look Like In Real Life Go Behind The Scenes Of 'The Battle Of Winterfell' From This Week's 'Game Of Thrones' What Do These 50 'Game Of Thrones' Stars Look Like In Real Life?

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Other releases - Taipei Times Fri, May 09, 2008 - Page 17　News List Compiled By Martin Williams PathologyHorror fans and devotees of Naomi Watts miffed by this week’s canceled release of Funny Games, Michael Haneke’s scene-for-scene American remake of his brutal Austrian film from 1997, will have to make do with Pathology. The good news is that it’s getting a few good notices. Like the loopy Thai flick Sick Nurses, which opened here a few weeks ago, this gory story is set in a hospital and features a cabal of nasty medicos. This time, however, it’s in Washington, where the dissolute doctors challenge each other to identify the cause of death of the latest morgue delivery — after they’ve found someone to kill. In the middle of it all is a newly arrived doctor who plays the game but remembers his Hippocratic oath before it’s too lateHappily Ever AfterHere’s another Japanese film that takes a downbeat subject (domestic violence) and turns the tone upside down and inside out. Miki Nakatani (Ringu, Silk) stars as a woman who cheerily makes the best of things while surrounded by low-life men. Yet another manga adaptation, which partly explains its surprising approach. From the director of Memories of Tomorrow, a much more sober film that impressed audiences here last year.Savage GracePoor press is presumably the reason why this is being released in Taiwan before the US. It’s based on the true story of socialite Barbara Baekeland (Julianne Moore), a woman who married into a wealthy family empire built on the plastics industry and who was killed by her mistreated son Tony (Eddie Redmayne) amid a lifestyle of opulence and emptiness. Alternately described as melodramatic and unmelodramatic by critics, the film looks like a worthy contender to dethrone Mommie Dearest as a camp classic of child abuse, notwithstanding some brave performances. What Happens in Vegas … A wild night in Las Vegas ends up with two strangers (Cameron Diaz and Ashton Kutcher) wedded and bedded. The pair’s hangovers are alleviated somewhat when they discover that one of them hit the jackpot the previous night. Cue a vicious struggle for the loot and inevitable realization that fate may not have dealt the couple an ill-planned love connection after all. This story has been viewed 2372 times.

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The Seven Little Foys One of the very few truly serious movie roles that Bob Hope ever played was Eddie Foy in The Seven Little Foys (1955). Foy had been a vaudeville institution on Broadway in the early 1900s, but for all his fame and influence, he was a very complicated man and not at all universally liked, and The Seven Little Foys does not gloss over his selfishness and other negative traits. Most prominently, he neglected his wife and family in favor of his career, and it was only after his wife died, leaving their seven children for Foy to raise himself, that he started paying them any attention. Even then, however, he used them for his own purposes, enlisting them into his act and training and turning them into "The Seven Little Foys." (Foy and his wife actually had eleven children, but four of them died.) The sequence depicting Hope being informed of his wife's death is especially dramatic. Foy is shown drinking and carousing mere blocks from the hospital in which his wife (Italian actress Milly Vitale in one of her few American films) is dying, only to be told of her death the next day. The night before Hope shot this scene, a real-life close friend died of cancer. Hope undoubtedly used his personal devastation in shooting the scene, and the result is one of the most serious and dramatic on-screen moments in Hope's career. The highlight of the picture, however, is a seven-minute sequence in which James Cagney reprises his Oscar®-winning role of George M. Cohan (from Yankee Doodle Dandy [1942]) and dances on a tabletop with Hope after the duo trade comic barbs. Cagney was more than happy to supply this cameo. For one thing, he was eager to lose fifteen pounds, "so [Hope] and I rehearsed the dance for three weeks, and I lost my unwanted lard." (Cagney by Cagney) For another, Cagney saw this as an opportunity to pay tribute to the memory of Eddie Foy, who had helped him when he was just starting out: "When I was a starving actor," Cagney wrote, "I could always get a free meal and a friendly welcome at the Foys. You don't forget things like that." Therefore Cagney refused a salary for his work on The Seven Little Foys. He did have a little trouble with the dance number, however. In his three weeks of rehearsal he incorporated a step that placed extra strain on his knees, and when the cameras were rolling and he jumped up onto the table, his knees shot through with severe pain. But Cagney was a professional hoofer and soldiered on. "I didn't change expression but reached down and pulled Bob up. We proceeded to do the routine with both my legs paining almost beyond endurance.... Right after the number I called Bob into my dressing room and showed him my knees. He couldn't believe it. They were full of fluid, easily twice their normal size. But in a few days they were normal again and I was all right. I guess at fifty-six even a longtime song-and-dance man can't expect to bounce around in quite the same way he did at, say, fifty." The Seven Little Foys was the first producing-directing effort for writers Melville Shavelson (who directed) and Jack Rose (who produced). The pair were longtime writing partners and gag men who had a long association with Hope. In his memoir (How to Succeed in Hollywood Without Really Trying, P.S. -- You Can't!), Shavelson wrote that when he and Rose approached Hope about this film, Shavelson told the star: "Bob, there's a catch. You can't have the story unless I direct it and Jack produces it, and neither of us have ever directed or produced anything in our lives." Hope thought it over for a moment, then replied, "My last picture was so lousy, you guys can't possibly do one lousier." According to Shavelson, he, Rose and Hope all worked for deferred salaries, to be paid from the film's profits. "The Seven Little Foys was so successful," he wrote, "Paramount was too surprised to lie. To buy out our rights so they would keep all the picture's future earnings, Jack and I were offered a contract to write, produce and direct a series of films for the studio. Part of the deal included a hefty chunk of Paramount Pictures stock. I later sold my stock, much too soon, it turned out, but I didn't mind. For a short time, I had been a minor mogul." In his many stints as Oscar® host, Bob Hope often joked about his own lack of an acting Oscar®. The Seven Little Foys was one of four films in his career that he really hoped would finally land him a nomination, but it was not to be. (The others: Monsieur Beaucaire [1946], Beau James [1957], The Facts of Life [1960].) This film did garner one nomination, however, for Best Story and Screenplay, but it lost to Interrupted Melody (1955). Two of the real-life Seven Little Foys took part in the making of this film: Eddie Foy, Jr. supplies the voice-over narration, and Charley Foy serves as technical adviser. Look for Jerry Mathers (child star of TV's Leave It to Beaver) playing Bryan Foy at age 5. Producer: Jack Rose Director: Melville Shavelson Screenplay: Melville Shavelson, Jack Rose Cinematography: John F. Warren Art Direction: John Goodman, Hal Pereira Music: Joseph J. Lilley Film Editing: Ellsworth Hoagland Cast: Bob Hope (Eddie Foy), Milly Vitale (Madeleine Morando Foy), George Tobias (Barney Green), Angela Clarke (Clara Morando), Herbert Heyes (Judge), Richard Shannon (Stage Manager), Billy Gray (Bryan Lincoln Foy, as a teen), Lee Erickson (Charley Foy), Paul De Rolf (Richard Foy), Lydia Reed (Mary Foy). C-93m. by Jeremy Arnold Christmas Films Introduction Christmas Double Features Little Women (1949) All Mine to Give We're No Angels (1955) Lady in the Lake Carol for Another Christmas A Christmas Carol (1951) EXPAND COMPLETE MOVIE LINE-UP The Bishop's Wife It Happened On 5th Avenue Christmas in Uniform Destination Tokyo The Fighting 69th Never So Few Salute to the Marines Christmas in Song In the Good Old Summertime Meet Me in St. Louis On Moonlight Bay The Daughter of Rosie O'Grady The Lemon Drop Kid Bachelor Mother Never Say Goodbye (1946) Tenth Avenue Angel Bob's Christmas Eve Picks The Shop Around The Corner Come to the Stable Going My Way The Miracle of Our Lady of Fatima The Nun's Story The Song of Bernadette King of Kings (1961) Christmas with The Hardys Love Finds Andy Hardy Andy Hardy Gets Spring Fever Judge Hardy and Son Andy Hardy Meets Debutante Andy Hardy's Private Secretary Life Begins for Andy Hardy Ginger Rogers, David Niven. Polly, unemployed... more info Errol Flynn, Eleanor Parker, Hattie McDaniel.... more info The folks who live in the teeming tenements... more info Come To The Stable A heartwarming family film concerning the... more info

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Home > Autographs > Autographs - Film« Back Ron Moody (Oliver) - Genuine Signed Autograph 6681 Ron has worked in a variety of genres, but is perhaps best known for his starring role as Fagin in Lionel Bart's stage and film musical Oliver! based on Oliver Twist by Charles Dickens. He created the role in the original West End production, and reprised it in 1984 on Broadway and in the 1968 film, for which he was nominated for the Academy Award for Best Actor and won the Golden Globe Award for Best Actor - Motion Picture Musical or Comedy. He appeared in several children's television series, including The Animals of Farthing Wood, Noah's Island, Telebugs, Into the Labyrinth, and the Discworld series. Among his better known roles is that of Prime Minister Rupert Mountjoy in the comedy The Mouse on the Moon (1963), alongside Margaret Rutherford. He played French entertainer and mime artist The Great Orlando in the 1963 Cliff Richard film Summer Holiday. He acted again with former Oliver! co-star Jack Wild in Flight of the Doves. In 1969, Moody was offered, but declined, the lead role in Doctor Who, following the departure of Patrick Troughton from the part. He later told many people (including Doctor Who companion Elisabeth Sladen) that declining the role was a decision he subsequently regretted. He played Edwin Caldecott, an old nemesis of Jim Branning in EastEnders. He played Ippolit Vorobyaninov alongside Frank Langella (as Ostap Bender) in Mel Brooks' version of The Twelve Chairs (1970). In 2003, he starred in the black comedy Paradise Grove alongside Rula Lenska. In 2005, he acted in the Big Finish Productions Doctor Who audio play Other Lives, playing the Duke of Wellington. In 2004, the British ITV1 nostalgia series After They Were Famous hosted a documentary of the surviving cast of the motion picture Oliver!. Several of the film's musical numbers were reenacted. Moody, then 80 but still spry, and Jack Wild (seriously ill with oral cancer at the time) recreated their dance from the closing credits of the film. Moody appeared in an episode of BBC1's Casualty (aired on 30 January, 2010) as a Scottish patient who had served with the Black Watch during the Second World War. On 30 June 2010, Moody appeared on stage at the end of a performance of Cameron Mackintosh's revival of Oliver! and made a humorous speech about the show's 50th anniversary. He then reprised the "Pick a Pocket or Two" number with the cast.

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Leigh Whannell and James Wan (who created the Saw franchise) put a new spin on the haunted-house genre with their new movie, Insidious. (Deborah Baic/The Globe and Mail/Deborah Baic/The Globe and Mail) Leigh Whannell and James Wan (who created the Saw franchise) put a new spin on the haunted-house genre with their new movie, Insidious.(Deborah Baic/The Globe and Mail/Deborah Baic/The Globe and Mail) Saw creators leave severed limbs behind in haunted-house film Dave McGinn Tuesday, Mar. 29, 2011 1:16PM EDT The twisted minds that brought us Saw, helped along by the producers of Paranormal Activity, are back with their latest fright fest, Insidious. The film - opening Friday - dusts off the haunted house movie and puts a new spin on its creaky conventions. The Globe spoke to director James Whan and screenwriter Leigh Whannell about which horror movies scarred them for life and why they've opted for creepiness over dismemberment. A scene from the trailer for the horror film Insidious. Insidious movie trailer What was it that attracted you to the haunted house genre?Wan: We love haunted house movies. We think the scariest sub-genre within horror films is haunted house films because it's the most relatable sub-genre. We all live in houses.Whannell: It's also a very malleable genre. To me, The Shining is a haunted house film, it's just a hotel they're living in.There are a lot of nods to Poltergeist in the film. Was that a formative movie for both of you growing up?Whannell: I think it scarred James for life because he saw it very young.Wan: It did scar me for life. The creepy clown doll scared me to the point where even when I got around to making my first movie, Saw, people asked me, "Why did you put a creepy ventriloquist doll in it?" Well, I find ventriloquist puppets really creepy - the concept that it may be living is what makes it frightening. And I think why I'm fascinated by that is from seeing Poltergeist at a very young age, even though it wasn't a ventriloquist doll.There are several scenes in Insidious clearly meant to make the audience laugh, which was surprising for a horror movie.Wan: They're not too big, though. I feel like the levity in this film belongs in more like your indie, Sundance-type dramedy. It wouldn't be out of place in a movie like Juno, for instance.After Saw , which has become the most successful horror movie franchise in history, you two probably could have done whatever you want. What's the appeal of continuing to make independent movies?Wan: Creative freedom. We found with our second movie Dead Silence that creative freedom is very important in making a good movie. We strive to make good films, and filmmaking is so hard. If you can chip away at the things that make it hard for you to make your film then you're one step closer to achieving that goal. When I read Leigh's script, I was like, this is a great script, and it would be a shame to try to follow this through the studio system. If I did, it probably wouldn't be the film I see in my head.Whannell: The producers of Paranormal Activity were the guys who enticed us back in to it. They made a good sales pitch, which was, "You're not going to have much money, it's going to be very independent but you're going to have this total creative freedom and it's a guaranteed movie."Every few years people will start to say that horror is a dead genre. What do you make of that discussion?Whannell: To me it's kind of like saying, "Drama is a dead genre," or "Comedy is a dead genre." It's never going to go away. I find the people who say that don't know much about horror, or can't define a horror film easily. What I think they mean is, a particular sub-genre of horror has run its course. For example, I don't know any other term for it other than extreme horror film, this sort of run of horror films in the wake of Saw, like H ostel and stuff like that. That has come to an end I think. But as long as human beings like to be scared there will always be horror films.Wan: There was that period when American Pie was huge and then they just made all these fratboy-esque, toilet humour comedies, but no one ever said, "Comedy is dead."This movie is a departure from what you called "extreme horror." Was trying to scare people by what's not on screen a challenge?Wan: Shocking someone in a scary movie is the easiest thing to do - limbs getting cut off, blood on screen, that's easy to do. Actually scaring someone is really hard. But, to do something that's beyond scary, to create creepiness, is the hardest thing to do. Creating a sense of dread and creepiness that permeates an entire film is very hard to do. That's why Leigh and I are such fans of David Lynch, because he does dread and creepiness really, really well.What's next for both of you?Whannell: We've actually been talking about a sci-fi project, so we'll see where that goes.Wan: My idols are people who started in the horror genre but then they branched out to do other stuff. That would be my goal. I cannot wait to one day make a Rob Reiner-esque romantic comedy.This interview has been condensed and edited. Follow Dave McGinn on Twitter: @Dave_McGinn Insidious: Fright film from 'Saw' team an homage to retro horror The hype around horror movies: Now that's scary A mixed bag of genre flicks Globe Arts is part of The Globe and Mail's Globe Life Network

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The Young and the Restless Hits Ratings Milestone Last week, The Young and the Restless celebrated its 24th year at the top of the daytime drama ratings, The Associated Press reports.See photos of the sexiest soap opera stars and share your favorites!The feat is something to celebrate despite the current decline of daytime dramas. When Young and the Restless premiered in 1973, there were 13 soaps on air, but only four remain today. Y&R averaged 4.4 million viewers last week.Though The Young and the Restless is the only soap to see a decline in viewership this year, its ratings still trump those of runner-up The Bold and The Beautiful and General Hospital and Days of Our Lives, which rank third and fourth, respectively.Has your favorite show been canceled?"It's definitely not something that we take for granted," Angelica McDaniel, senior vice president of daytime for CBS, told the AP. The soap, which follows the exploits of the people of Genoa City, features such mainstays as Jeanne Cooper, Eric Braeden, Melody Thomas Scott and Peter Bergman. McDaniel credits the series' relevant storytelling and multigenerational characters as key to Young and the Restless' success.What's your favorite soap opera?View original The Young and the Restless Hits Ratings Milestone at TVGuide.comOther Links From TVGuide.com The Young and the RestlessDays of Our LivesThe Bold and the BeautifulGeneral Hospital

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Condos, townhomes or family dwellings: Which is right for you? Practice dance with this well established training studio HomeWhatsOnArtsEntertainmentTIFF: Aniston, Bullock, Jackman headed to... TIFF: Aniston, Bullock, Jackman headed to star-studded Toronto Frazer Harrison,Getty Images Jennifer Aniston arrives at the Oscars at Hollywood & Highland Center on February 24, 2013 in Hollywood, California. Kin Cheung,The Associated Press British actress Kate Winslet, left, arrives with her boyfriend Ned Rocknroll at the awards presentation of The Longines Hong Kong Cup horse race at the Shatin race track in Hong Kong, Sunday, Dec. 9, 2012. Gareth Cattermole,Getty Images Sandra Bullock attends the gala screening of 'The Heat' at The Curzon Mayfair on June 13, 2013 in London, England. Hamilton Spectator Cassandra Szklarski TORONTO Jennifer Aniston, Kate Winslet, Colin Firth, Nicole Kidman, Jude Law and Hugh Jackman are among the A-listers heading to next month's Toronto International Film Festival, a glitzy parade organizers touted Tuesday as ground zero for those seeking awards season glory. Organizers say this year's star-packed guest list also includes Sandra Bullock, Marion Cotillard, Daniel Radcliffe, Reese Witherspoon and Kristen Wiig. But festival favourites George Clooney and Brad Pitt were noticeably absent from the announcement, despite each helming buzzy titles and having a long affiliation with the annual showcase. The roster emerged as the final films were announced for the 11-day movie marathon, bringing the final count to 288 features and 78 shorts bound for the fest. They include Clooney's "Gravity," which will be supported by Bullock, and Pitt's "12 Years a Slave," which nevertheless will bring Benedict Cumberbatch, Michael Fassbender, Paul Dano, Alfre Woodard and Paul Giamatti to Toronto. "I think that unquestionably Toronto is now positioned as one of the key — if not the key — festivals for awards-season launch, so of course many of the stars will come to the festival as well as the major directors," festival director Piers Handling said Tuesday in a conference call with reporters. "They've looked at the track record of Toronto over the last 15, 20 years, which is very impressive. Many films go on to multiple nominations and we've had a track record of picking best picture as well as many of the best actors over the years." Toronto has done particularly well in predicting awards success for foreign-language films, Handling added, noting that over the last 25 years, 24 of the Oscar winners in that category screened at TIFF. Newly announced films for this instalment include Amir Bar-Lev's "12.12.12," which chronicles the post-Sandy benefit concert that featured the likes of Bruce Springsteen, the Rolling Stones, the Who and Paul McCartney. Following the screening, concert co-organizer Harvey Weinstein will host a live discussion. Filmmaker Ron Howard, meanwhile, will appear at a public chat to support his documentary "Made in America," which looks at Jay-Z's Philadelphia music bash. Howard will also be seen at the fest with his Formula One thriller "Rush." Homegrown titles include "Our Man In Tehran," a documentary that chronicles the story behind the Iran hostage rescue operation that inspired "Argo" but is better known here as "the Canadian Caper." Co-director and producer Larry Weinstein says it reveals how Canada's former ambassador to Iran, Ken Taylor, personally sheltered six fugitive U.S. diplomats during the Iranian hostage crisis of 1979. It also dispels many elements in Ben Affleck's Hollywood version, which emphasized the involvement of CIA agent Tony Mendez while downplaying Canada's role. "There's just some embellishment and that's natural within a Hollywood film," Weinstein said of the Oscar-winning popcorn thriller. "It's very much the point of view of this man, Tony Mendez, and from that point of view it's pretty accurate, although there is some embellishment and there are a couple of scenes that were made up. But I think our film being a documentary we just wanted to not do that. Ours is much more the Canadian point of view and addresses some of the things that are omitted." The film is co-directed and produced by former Toronto Blue Jays baseball player Drew Taylor, who makes his directorial debut with the project. The screening will include a conversation with Ken Taylor. Other live events include the return of Jason Reitman's "Live Read" — a program where classic scripts are read for the first time by contemporary actors in front of an audience, with Reitman narrating stage direction. Last year, Reitman directed Bryan Cranston, Christina Hendricks and Adam Driver at a live table read of "American Beauty." This year's read will take place Sept. 6 with the cast and the script to be announced in early September. On-stage conversations will take place with Bollywood star Irrfan Khan, best known to English-speaking audiences for "Slumdog Millionaire" and "Life of Pi," and director Spike Jonze, who will outline his diverse career from music videos to feature films and preview his new project "Her," starring Joaquin Phoenix and Scarlett Johansson. TIFF is also partnering with IMAX to present four films on the extra-big screen. They include Bullock's sci-fi tale "Gravity" and Keanu Reeves' directorial debut "Man of Tai Chi," which both also screen in non-IMAX format, as well as the hybrid documentary "Metallica Through the Never" and a 3D version of the original "The Wizard of Oz." The final TIFF lineup does include some notable omissions. Joel and Ethan Coen's "Inside Llewyn Davis," Alexander Payne's "Nebraska," and "All is Lost" starring Robert Redford are skipping Toronto, despite being festival sensations elsewhere. "There's a lot of good work to go around these days. I wouldn't want to see the same films turn up at every single festival," artistic director Cameron Bailey said in the same conference call. "If you look at what we have, (and the festivals at) Cannes, Venice, New York, Telluride, the lineups are actually quite distinct which is, I think, a good thing. It's a sign of health in the film industry." The Toronto International Film Festival runs Sept. 5 to 15 and opens with the WikiLeaks drama "The Fifth Estate." Experience the warmth of vinyl music After experiencing an amazing resurgence in popularity, turntables and vinyl are continuing to gain... Haul Maxx is your best disposal solution Those looking for a means of disposing of residential and commercial waste in Hamilton-Wentworth... Transponder keys for your car decreases likelihood of theft Did you know that if you lose your car’s transponder key it can be replaced by a professional,... Legal Matters: Understanding your health benefits and insurance after an automobile accident Q I was injured in a car accident and I need treatment. I have an automobile policy and extended... Online safety tips: Protect your computer Mr. Computer.ca provides Burlington and the surrounding areas with expert computer repairs,... 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I have second degree burns to my hands as a result of a product I purchased from my... Local lawn and garden service grounded on customer service, lasting relationships Topper’s Enterprises Inc. Landscape Contracting in Ancaster, Ontario, believe that good business is... Legal Matters: The role of a mediator in a divorce My lawyer is suggesting that we try mediation as a means of dissolving our marriage.... Legal Matters: Ensure your home renovations are done properly Question – We are going to renovate. What steps can we take to find a contractor to complete our... MORE ARTSENTERTAINMENT Dundas artist Danuta Niton joins October’s studio tour News Artisan Market arrives Sept. 11 in the Dundas Driving Park Wednesdayfile Salzburg supersizes Wagner’s Meistersinger

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Dianna AgronOverviewFull BioRelated Content Dianna Agron started taking dance lessons at 3 in San Francisco and participating in productions of “Grease” and “Vanities” in high school. Immediately following graduation, she shuffle-ball-chained her way to Los Angeles to find work as a triple threat. It was a slow start of student films and a made-for-TV bomb called “After Midnight: Life Behind Bars” but eventually she booked one TV guest spot after another on series like “Numb3rs” “CSI: NY”, “Shark” and “Drake & Josh”. She moved up to recurring role on “Heroes” and “Veronica Mars”. In 2009, she clinched the job — playing pregnant cheerleader Quinn Fabray as part of the SAG Award-nominated ensemble on “Glee” — that would make her known the world around and would open the door for her to go big screen (“Burlesque” and “I Am Number Four”). It also earned her a new roommate, her on-screen nemesis Lea Michele, for the first year of the program. The vegetarian and amateur photographer recently booked a thriller with Lena Headey and Patrick Wilson called “Zipper” and a rom-com with Jason Sudeikis called “Tumbledown”. Agron, who earned a spot on People’s Most Beautiful List in 2010, appeared in a Killers music video and directed one for “Body” by Thao & The Get Down Stay Down.Read Full Bio Dianna Agron: Related Content Kendall Jenner looks stylish in New York City, plus more celebs out and about From Mila Kunis and Blake Lively's baby bumps to Reese Witherspoon's preppy style, see the stars as they look on the street this month. Dianna Agron is finally showing off her diamond two months after getting engaged See the stars who hit the runway shows and parties at London Fashion Week Autumn/Winter 2016 See the celebrities who hit the runway shows and parties during London Fashion Week in February 2016. Jamie Lynn Sigler reveals she has MS, Jamie Foxx is a hero and more ICYMI news Jamie Lynn Sigler has MS, Jamie Foxx is a hero and more ICYMI news. Dianna Agron and her rocker boyfriend are planning a trip down the aisle Check out your favorite stars enjoying a little R&R... Check out your favorite stars enjoying vacation!

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Indian Directors Unite for Ensemble Film Celebrating Country's Cinematic Centennial (Video) 2:14am PDT, Mar 28, 2013 ShareTweetPinEmail The Hollywood Reporter -- NEW DELHI - In a first of sorts, four leading Indian directors have come together to make four short films under the title Bombay Talkies. Backed by Viacom18 Motion Pictures and Flying Unicorn Entertainment, the four directors featured in the project include leading Bollywood film-maker Karan Johar, Anurag Kashyap (whose latest Gangs of Wasseypur premiered at Cannes), Zoya Akhtar (Zindagi Na Milegi Dobara) and Dibakar Banerjee (Shanghai).Bombay Talkies will premiere on 3 May to mark the 100-year anniverasy of the release of the first Indian film, Raja Harischandra, directed by Dadasaheb Phalke, in 1913. The silent film was based on the legend of the noble and righteous king Harishchandra, a legendary figure in Hindu religious texts. PHOTOS: Indian Talent Going Global "Its wonderful to be at a point in time where we can celebrate a historic milestone about Indian cinema completing a hundred years," said Johar, whose banner Dharma Productions has produced major Bollywood hits such as last year's Agneepath. "Its indeed very exciting that four directors have come together to create an ode to our cinema. My film (which stars actress Rani Mukherjee) is about scattered and repressed relationships. Its about the baggage you carry in a relationship as the result of a troubled childhood." "For me 100 years of cinema is a time to party because Indian cinema has survived for so long and grown from strength to strength," said Kashyap. "My short film is about one man -- [Bollywood icon] Amitabh Bachchan. In fact, its about his home [in Mumbai's Juhu suburb] and the legions of fans that come there just to have a glimpse of the legend. Beyond just being about the iconic status of Bachchan, it's about our relationship with our stars. And how important a role stars play in our lives." STORY: Steven Spielberg Planning Film Set on India-Pakistan Border "Since the first Indian film was made a century ago, Indians really took to cinema. And we have cultivated our own idiom which has flourished," said Akhtar whose father Javed Akhtar is one of Bollywood's most respected screenwriters and poets. "My film is about magic and dreams. Its about an eight year old boy who wants to dance like (top Bollywood actress) Katrina Kaif. Its really a fairy tale about the magic of stars." Dibakar Banerjee -- whose 2012 film Shanghai was based on Greek author Vassilis Vassilikos' acclaimed political novel Z -- says he saw Bombay Talkies as an opportunity to make his first short film. "I always wanted to make a short film and when this project came about, I jumped at it. My film is based on a short story by Satyajit Ray (another major figure in Indian cinema of old)," said Banerjee. "Its about one day in the life of a failed actor who is given that one last chance. I think it is indeed fortuitous that to mark the centennial of Indian cinema, I am making a film based on a story by Ray."See below for the Bombay Talkies trailer: Related article on THR.com: Centenary Celebrations of Indian Cinema Begin With Festival and Film Market in Goa _ _ _ _Find more online: THR.com ShareTweetPinEmail SpotlightWe Recommend A poll named the best dressed woman of the summer... and it wasn't Kendall Jenner or Gigi Hadid Chrissy Teigen shows off another photo of her stretch marks

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Thirty Years of Writing on Film and Culture from One of America’s Most Incisive Writers Peter Biskind Pub Date: Jan. 1st, 2005 Publisher: Nation Books/Perseus The probably inevitable rarities and B-sides compilation from the ex-editor of Premiere.Previously, Biskind (Down and Dirty Pictures, 2004; Easy Riders, Raging Bulls, 1998) made a niche for himself as the slightly left-of-mainstream scold of the American cinematic scene in whose eyes the sellouts are many and the artists of vision rare. Here are three decades’ worth of Biskind’s past writings that show, besides his undisputable eye for critiquing the form, the evolution of a writer from starchy ideologue to celebrity profiler. What’s most striking in the pieces from the ’70s and ’80s is the uncompromising nature of their political conviction. A Film Quarterly story about On the Waterfront becomes a decent encapsulated history of American liberalism and labor in the postwar era. Biskind’s cant has a tendency toward old lefty revisionism, as when he thrashes the PBS documentary Vietnam and The Deer Hunter for daring to suggest that the North Vietnamese may not have been populist angels, and castigates the NBC miniseries Holocaust for not critiquing Zionism. As he slouches into the ’90s and his problematic editorship of Premiere—where, it must be said, for years Biskind fought the good fight for the idea that you could have a smart but popular film magazine—his writing comes to consist more of profiles of filmmakers, both the creatives and the suits, and the spark goes out. His piece on Clint Eastwood is fraught with uncharacteristic pandering, and one on Robert Redford and Sundance is heavily laden with Vanity Fair Hollywood powerbroker gossip. That said, his 1998 story on the lengthy gestation of The Thin Red Line and the perverse mania of director Terrence Malick is out-and-out masterful.An impressive appreciation of cinema’s highs and lows, but you’ll still wish Biskind could simply go back to writing about movies again instead of indulging in all this glossy gossip.

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Jonathan Slinger on Hamlet: 'I'm going to try to achieve the impossible' Jonathan Slinger is the RSC's brightest talent – and now he's about to take on Hamlet. He tells Lyn Gardner why his Dane will be a psychological one-off – and how he feels sorry for handsome actors Glittering edge … Slinger. Photograph: Sarah Lee for the Guardian Lyn Gardner @lyngardner Monday 11 March 2013 15.00 EDT Jonathan Slinger stands in the Royal Shakespeare Company's London rehearsal room, holding Yorick's skull aloft and at arm's length. He bursts out laughing. "If there is any more boring cliche in theatre than that pose, I don't know what it is." He brings the skull over to the sofa and sits cradling it against his chest. "This is what I really want to do, hold it close, but the text doesn't allow it. Hamlet says he's disgusted by the skull, so I can't. But I'm trying to find out how to play the scene – I don't want to be a cliche." Cliche is not a word you would use about Slinger, in my view the most exciting and versatile actor to emerge from the RSC in years. He may not be a household name, and is the first to admit he hasn't got the leading-man looks that make Hollywood sit up and take notice. But you can't take your eyes off him when he's on stage. He can be incredibly brave, with a dangerous, almost glittering edge to his performances; he has the knack of appearing unrecognisable from one role to the next, at home with both high comedy and tragedy. Slinger's ascent to RSC royalty came through playing two very different kings: a drag-queen Richard II in 2007, and a gleefully malevolent Richard III in Michael Boyd's 2008 complete history plays cycle. Ironically, Boyd had auditioned Slinger for the RSC and turned him down; it was Gregory Doran (then an associate director, now head of the RSC) who spied his potential, bringing him into the company in 2005 to play a jealous, malicious Puck in A Midsummer Night's Dream. Slinger admits that, when he first turned up at the Royal Academy of Dramatic Arts in 1991, he envied the traditional good looks of many of his male contemporaries. Now, at 40, he thinks his appearance has worked in his favour, helping him develop his abilities as an actor. "It's quite difficult for the incredibly good-looking poor dears, who are getting jobs essentially because of their looks, and for whom ability is a secondary consideration. I've seen it with some of my friends. Unless you are very careful, you are not exercising your skill and getting better. That's never been an issue for me – I've only ever got the job because I'm good. There are more actors out there with a leading-man aesthetic, but the people I am up against for jobs are often the better actors, because they have to work at it. It's meant that I haven't been able to get complacent about what I do. Nobody is knocking at my door and offering me a living because my face fits and looks good. That's cool. It suits me." And in fact, for the past 10 years, Slinger has been in fairly constant demand. Now the big one – Hamlet – looms, directed by David Farr in a loosely contemporary setting: a run-down public-school fencing gym, over which hangs a Latin motto: "Sound in body; sound in mind". They are currently playing with the opening, having Hamlet return to the empty gym and sensing a presence: there is the suggestion that it is Hamlet's grief that unlocks the ghost of his father. Slinger has been hitting on previous Hamlets – he doesn't say who – for tips. "They all say the same thing: whatever you do, it's one of the few parts where you don't play it, it plays you." He looks thoughtful. "Which of course begs the question, 'Who am I?' This echoes another former RSC Hamlet, Roger Rees, who once said that while every actor longs to bring something special to Hamlet, in the end they can only bring themselves. "Of course I wonder how my Hamlet will be seen," Slinger continues. "You want to be one of the good ones, one of the ones people remember." He reckons that most Hamlets are remembered for, and reduced to, one essential quality: "David Warner's melancholy Hamlet", or "David Tennant's quick-witted, mercurial Hamlet". But he wants to take his Hamlet "out of the boxes, because he is all those things and more. He is the ultimate manifestation of what it is to be human: we are all gloriously antithetical and contrary." It has been said that it is not possible to play Hamlet in a psychologically "true" way, because Shakespeare wrote a series of character sketches rather than an individual. But Slinger doesn't buy this argument at all. "This is the quote that's going to hang me," he says, "but I'm going to try to achieve what people say is impossible. I want to make him a psychologically understandable Hamlet. I do honestly think that's what Shakespeare wrote: a very complex person. And I'm in a slightly win-win situation: if I achieve it, then amazing. And if I don't – and depending to what degree I don't – the worst that people will say is that it was a wholly unreasonable ambition because nobody has ever done it. It will just serve as further proof to those who say it's impossible." Slinger has already played many of the major Shakespearean roles, including Macbeth and Malvolio. What's left after Hamlet? "I'll probably step away from the RSC after Hamlet, though I also feel I'll be back. I'd love to play Benedick in Much Ado. But there's so much I still want to do, and staying too long in one place can be dangerous. Money, fame and fortune don't matter to me. I just want to get better. If, at my funeral, there were six of the people I most admire in the industry standing around the grave saying, 'He was a brilliant actor', it wouldn't matter to me if nobody else knew who I was." More interviews Topics

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Carrie Underwood Isn’t Trying To Be Julie Andrews In ‘Sound of Music’ Remake Filed Under: 19 recordings, ACM Awards, Arista Nashville, Blown Away, Carrie Underwood, two black cadillacs Ethan Miller/Getty Images Carrie Underwood’s role in the upcoming made-for-TV version of The Sound of Music will not be a knock-off of Julie Andrews’ in the 1965 film. The country singer told People that Andrews is like royalty and there is no way she’s trying to compete with her iconic take on Maria von Trapp. “It would be like you’re beneath her,” Underwood said. Adding, “I think once people tune in and realize that [our version] is not a remake, they won’t compare it to the movie.” Underwood’s version, set to air later this year on NBC, is based on the original Broadway show and will feature her singing live. The live performance will certainly be challenging for Underwood, who previously appeared on a 2010 episode of How I Met Your Mother and played a church leader in the 2011 movie, Soul Surfer, but she says she’s up for it. “It’s a giant challenge, which I appreciate,” she said. “Everybody keeps saying, ‘People don’t do this anymore, singing live!'” Though, Underwood is keeping busy with work, she admitted to the mag that she would put her career on hold if that’s what her husband of two years, NHL star Mike Fisher, wanted.

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Arcade Fire leads Juno Award nominees 2 years ago Listen to Arcade Fire on iHeartRadio Arcade Fire will be the top contender at this year's Juno Awards. Nominations for the Canadian music honors were announced on Tuesday, and the indie rockers nabbed a total of six nods. Their chart-topping album Reflektor and its title track are up for Album and Single of the Year, respectively, while the band is in the running for both Group and Songwriter of the Year. They're also up for the Fan's Choice honor along with Drake, Hedley, Robin Thicke, Justin Bieber, and more. Tegan and Sara, meanwhile, picked up five nominations including Group, Single, and Songwriter of the Year. The duo is also in the ceremony's lineup of performers, which currently includes Robin Thicke, City and Colour, and Serena Ryder as well. The 2014 Juno Awards will be handed out in Winnipeg, Manitoba on March 30th. Check out some of the 2014 Juno Award nominees: Artist of the Year: Serena Ryder Group of the Year: Single of the Year: "Reflektor," Arcade Fire "Inner Ninja," Classified feat. David Myles "It's a Beautiful Day," Michael Bublé "What I Wouldn't Do," Serena Ryder "Closer," Tegan and Sara Reflektor, Arcade Fire Loved Me Back to Life, Celine Dion Nothing Was the Same, Drake To Be Loved, Michael Buble Harmony, Serena Ryder Songwriter of the Year: Henry (Cirkut) Walter Tegan and Sara Quin. Breakthrough Group of the Year: Autumn Hill Courage My Love Breakthrough Artist of the Year: Brett Kissel Florence K Tim Hicks Tyler Shaw International Album of the Year: Unorthodox Jukebox, Bruno Mars The Marshall Mathers LP II, Eminem Night Visions, Imagine Dragons Take Me Home, One Direction Truth About Love, Pink Fan's Choice:

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Slash: ‘I cannot picture an Axl Rose reunion’ By Daily Dish on September 3, 2014 at 2:30 PM Slash(Photo by Chelsea Lauren/WireImage) Rocker Slash has ruled out any kind of reunion with former Guns N’ Roses band mate Axl Rose, insisting he simply cannot picture a get together. After bassist Duff McKagan rejoined Rose and his current incarnation of the band for dates in South America earlier this year, many fans were hoping for an original line-up reunion, but Slash insists that’s still unlikely. He tells GuitarWorld.com, “People have been speculating about it for years, but I really have a hard time picturing it. Axl Rose(Photo by Michael Tran/FilmMagic) “There hasn’t been any communication along those lines between he (Rose) and I. I have a hard time picturing it, because I’m always focused on the next show. I’m one of those people who lives in the moment. I don’t look too far into the future and I don’t dwell too much on the past.” Slash left the group in 1996, and he and Rose haven’t spoken since. Rose didn’t attend the group’s Rock & Roll Hall of Fame induction in 2012, leaving Slash, McKagan and original drummer Steven Adler to accept the honor on behalf of the group. Daily Dish View Comments Celebrities and Entertainment News Search

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In Pictures: Ranveer and Sonakshi at Lootera’s Trailer Launch! Movies, News, Videos | March 16, 2013 Pooja Rao Share on Facebook Share on Twitter+ The first trailer of Vikramaditya Motwane’s Lootera was unveiled at the cool Liberty Theatre in Mumbai on Friday. After the critically acclaimed Udaan, director Vikramaditya’s Lootera is a traditional, emotional romance full of passion, pain, longing and of course love. Set in the stunning old world charm of Kolkata and Dalhousie, Lootera brings together for the first time, two of today’s finest young stars, Ranveer Singh and Sonakshi Sinha. It marks the coming together of the industry’s biggest creative powerhouses — Balaji, and Phantom Pictures, represented by Anurag Kashyap (DevD), Vikramaditya Motwane (Udaan) and Vikas Bahl (Chillar Party). A dazzling mix of style and substance, of the sublime and the spectacular, Lootera promises to be the epic period romance of 2013. The event started with the starcast making an entry in a vintage car, Impala. Amidst humongous crowds cheering & applauding, lead stars of the film Ranveer Singh and Sonakshi Sinha made headway to the stage where they performed a brief act which was choreographed from a sequence in the film, followed by the unveiling of the film’s poster by Sonakshi and Ranveer accompanied by Director Vikramaditya Motwane, Tanuj Garg, Ekta Kapoor and Anurag Kashyap. The audiences were then shown a 10 minute making of the film which underlined the obstacles the team faced even before the shooting started. From creating the look of the 80’s to the harsh weather conditions to the ill health of Ranveer Singh in the midst of the shoot, the film’s shoot was postponed twice but third time proved lucky and they were finally successful in kickstarting the project. Director Vikramaditya Motwane said, “I am nervous… scared. I’m very proud of this film. I hope people like it.” About the film Sonakshi revealed, “Lootera has been the most difficult shooting experience for me so far. In terms of character, look, performance, locations. Everything had to be from an era I knew nothing about. There were times while shooting I would wake up and say to myself ‘why am I doing this?’But when Vikramaditya showed me the trailer and a few rushes from the film, I had my answer right there. Every struggle was worth it. I loved what I saw, and I can safely say this is probably my best performance so far. I felt like I was seeing another actress from another era on screen. Vikram had transformed me.” Ranveer agrees it was difficult, “In my earlier films, I have always been high on energy…smiling. But I am happy I got to attempt something different with Lootera. Initially I was frustrated. I felt I couldn’t do this character. I couldn’t get it right. It was Vikram, who convinced me that I could do it…all thanks to him.” Lootera is scheduled to release on 5th July 2013! Check out these shots and then check out the incredible trailer! View all posts by Pooja Rao →

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Complex First We Feast Pigeons & Planes Sole Collector Green Label RIDE Channel ‘Doctor Strange’ Summons ‘Community’ Creator Dan Harmon for Reshoots‘Captain Marvel’ Directors Shortlist Includes ‘Whale Rider’ and ‘Homeland’ Helmers20 DC Heroes We Still Need to See on the Big and Small Screens‘Justice League Dark’ Moving Forward with Doug Liman Directing‘Manchester by the Sea’: First Trailer Reveals Sundance’s Breakout Hit 2013 Oscar Preview: Best Animated Feature, Best Adapted and Original Screenplay, and Technical Category Quick Picks by Adam Chitwood November 23, 2012 We’re continuing on with our weeklong preview of the upcoming 85th Academy Awards, and after running down both acting categories it’s time to take look at some of the other races. Today we’ll be looking at the Best Animated Feature, Best Adapted Screenplay, and Best Original Screenplay categories in depth, and I’ll also make some way-too-early quick picks in the technical categories. The fun begins after the jump. In case you missed them, click here to read our preview for Best Supporting Actor and Best Supporting Actress, and click here to read our preview for Best Actor and Best Actress. Best Animated Feature Frontrunners: Likely to Be Nominated: Brave Wreck-It Ralph Other Contenders: Rise of the Guardians Madagascar 3: Europe’s Most Wanted The Best Animated Feature race is a little all over the place at the moment. Many were expecting a frontrunner to emerge in the way of DreamWorks Animation’s Rise of the Guardians, but that film has received a much more mixed reception that most were expecting. The film is still likely to nab a nomination, though, as is Pixar’s Brave even though most agree the fairy tale isn’t exactly in the same league as many of the studio’s other films. It’s still leagues better than Cars 2, but that’s not really saying much. Surprisingly, the closest thing we have to a frontrunner right now may be Tim Burton’s Frankenweenie. Though the film’s box office isn’t spectacular, it was warmly received by critics and generally liked overall by most who saw it. For my money, Laika’s ParaNorman is the best of the bunch, but it may be edged out by Frankenweeenie if voters are remiss to include two “Halloween” movies on their ballots. Disney’s Wreck-It Ralph is a safe bet for a nomination as well, and also has a decent shot at the win. It nabbed quite a few high marks from critics and a hefty box office total of $159 million. Also in the mix is DreamWorks Animation’s Madagascar 3: Europe’s Most Wanted, which netted the best reviews and highest box office of any film in the franchise thus far. Best Adapted Screenplay Frontrunners: Tony Kushner – Lincoln Likely to Be Nominated: Chris Terrio – Argo David O. Russell – Silver Linings Playbook Behn Zeitlin and Lucy Alibar – Beasts of the Southern Wild Other Contenders: David Magee – Life of Pi William Nicholson – Les Miserables Ben Lewin – The Sessions Peter Jackson, Fran Walsh, and Phillipa Boyens – The Hobbit: An Unexpected Journey Judd Apatow – This Is 40 For Your Consideration: Steven Chbosky – The Perks of Being a Wallflower As many are expecting a big Oscar night for Lincoln, screenwriter/playwright Tony Kushner’s script for the Steven Spielberg film is undoubtedly a major contender here. The language in Lincoln is splendid, and much of the pic’s success is owed to Kushner’s magnificent screenplay given that the film is an incredibly talky drama that mostly takes place in rooms full of people. Kushner manages to make a story about political process wildly engaging, funny, and even thrilling, so I expect him to be this category’s primary frontrunner once nominations are announced. Chris Terrio’s nail-biting script for Argo is also a big player in this category, and I imagine he’ll be singled out for skillfully blending the film’s lighter, Hollywood side with the dramatic hostage crisis. David O. Russell also looks poised to land another screenwriting nomination for Best Picture hopeful Silver Linings Playbook, but one of the more interesting contenders here is Behn Zeitlin and Lucy Alibar’s wonderful screenplay for Beasts of the Southern Wild. The tiny-budget drama is a magnificent piece of filmmaking due in large part to Zeitlin and Alibar’s fascinatingly original script, and it has a very good shot at netting a Best Screenplay nom. The adaptation of Life of Pi could draw notice for its script given that the source novel was considered “unfilmable,” and it’s wise to consider Peter Jackson, Fran Walsh, and Phillipa Boyens for The Hobbit given that they were previously nominated for penning The Fellowship of the Ring and The Return of the King, winning the award for the latter. It’s also smart to keep an eye on Judd Apatow for This Is 40. The Academy recognized Bridesmaids in the Original Screenplay category last year, and Apatow was previously nominated by the Writers Guild of America for his The 40-Year-Old Virgin and Knocked Up screenplays. For my For Your Consideration pick, I’d like to single out Stephen Chbosky’s adaptation of his own novel The Perks of Being a Wallflower. Adapting a book as beloved as this was a hard enough task as is, but Chbosky made it that much more difficult by tackling the screenplay himself. He brilliantly translated the essence of the novel to the screen, making some pleasantly surprising alterations and additions that enhanced the book’s themes and even enriched a few characters in the feature film version. We’ve seen countless uninspired “translations” of books to screen in the past few years (ahem, Twilight), and I applaud Chbosky for recognizing the need to make changes when turning a book into a movie. Chbosky crafted not only one of the best films of the year, but he also turned in one of the best book-to-film adaptations in a long, long time. Best Original Screenplay Frontrunners: Wes Anderson and Roman Coppola – Moonrise Kingdom Michael Haneke – Amour Likely to Be Nominated: Quentin Tarantino – Django Unchained Paul Thomas Anderson – The Master Other Contenders: Mark Boal – Zero Dark Thirty John Gatins – Flight Ava DuVernay – Middle of Nowhere Rian Johnson – Looper For Your Consideration: Drew Goddard and Joss Whedon – The Cabin in the Woods The Original Screenplay category is a bit tougher to parse out at the moment, but there are a few clear major contenders that stand out from the rest of the pack. Wes Anderson made one of the best films of his career with this year’s delightfully charming Moonrise Kingdom, and the film’s crackerjack screenplay by Anderson and Roman Coppola will undoubtedly be one of this year’s nominees in the category. Also at the top of the pile is Michael Heneke’s script for his devastating drama Amour. The film is an incredibly tough watch, but it’s been hailed as one of the best films of 2012 for quite some time now (it won the Cannes Palm d’Or back in May), so look for it to be a major contender in the Original Screenplay category. Sight unseen, it’s pretty safe to say that Quentin Tarantino will find himself among the nominees for Django Unchained. The guy just doesn’t make bad movies, and depending on how things shake out he might pull off his first Oscar win since taking home the Best Original Screenplay trophy in 1995 for Pulp Fiction. Another living legend, Paul Thomas Anderson, should also land among the nominees for his The Master screenplay. Even though the film has gathered a rather polarizing response, Anderson’s talent is unlikely to be overlooked. It’s shocking to think that the guy behind Boogie Nights and There Will Be Blood has yet to win an Academy Award, but it’s entirely possible that he could find himself standing at the podium come Oscar night. The last time Mark Boal wrote a screenplay he won an Oscar, and he’s reteamed with his The Hurt Locker director Kathryn Bigelow for Zero Dark Thirty so look for him to be a major player in this category as well. We’ll have a better idea of his chances of winning once the film screens for critics, but he’s already talked extensively about the lengths to which he and Bigelow went to maintain accuracy when dramatizing the hunt for Osama bin Laden. I also don’t think it’s out of the realm of possibility for Rian Johnson to nab a nomination for his refreshingly original sci-fi film Looper. The pic was incredibly well-received by critics, and I’m really hoping it picks up some steam this awards season. When I see the words Best Original Screenplay, one of the first 2012 films that comes to mind is my For Your Consideration pick for this category: Drew Goddard and Joss Whedon’s The Cabin in the Woods. The duo turned the horror genre entirely on its head with a brilliantly fresh genre film that was packed to the brim with humor and smarts. I know it’s a very long shot for a nomination, but when running down the best original screenplays of the year, I don’t see how it’s possible to leave this one out. The technical categories are tricky enough to predict just before Oscar night, so in lieu of running down each category by frontrunners, likely nominations, and other contenders, I’ve simply listed four or five picks that are currently a part of the conversation. A lot can change between now and when the nominations are announced, so don’t be surprised if the end result is a tad different. Many of the categories will be easier to parse out once the official list of eligible contenders is released. The Original Score category is particularly difficult to weigh in on as there are many strange rules that keep some worthy scores from being eligible to compete. Nevertheless, here’s a look at some of the contenders: Editing Michael Kahn – Lincoln William Goldenberg – Argo Jay Cassidy – Silver Linings Playbook Peter McNulty – The Master Cinematography Cloudio Miranda – Life of Pi Roger Deakins – Skyfall Robert Richardson – Django Unchained Mihai Malaimare Jr. – The Master Sound Mixing Les Miserables Sound Editing Skyfall The Avengers Costume Design Anna Karenina Original Score Dario Marianelli – Anna Karenina Tom Tykwer, Reinhold Heil, Johnny Klimek – Cloud Atlas Behn Zeitlin, Dan Romer – Beasts of the Southern Wild John Williams – Lincoln Makeup Lincoln The Hobbit: An Unexpected Journey Visual Effects Amour – Austria The Intouchables – France No – Chile A Royal Affair – Denmark Documentary Feature The House I Live In The Central Park Five That’s it for today’s run of Oscar categories. Check back tomorrow for our final installment of Oscar Preview 2013 when we take a look at the big ones: Best Picture and Best Director. LES MISERABLES First Screening Earns Bouts of Applause and a Standing Ovation Best Deal Yet on New JAMES BOND Blu-ray 22 Film Set: $99.99… Tags • 2013 Oscar Preview • 85th Academy Awards • A Royal Affair • Amour • Anna Karenina • Argo • Ava DuVernay • Beasts of the Southern Wild • Behn Zeitlin • Ben Lewin • Brave • Chris Terrio • Cloud Atlas • David Magee • David O. Russell • Django Unchained • Drew Goddard • Entertainment • Flight • Fran Walsh • Frankenweenie • Hitchcock • John Gatins • Joss Whedon • Judd Apatow • Les Miserables • Life of Pi • Lincoln • Lucy Alibar • Madagascar 3: Europe's Most Wanted • Mark Boal • Michael Haneke • Middle of Nowhere • Mirror Mirror • Moonrise Kingdom • Movie • No • Oscars • Oscars 2013 • ParaNorman • Paul Thomas Anderson • Peter Jackson • Phillipa Boyens • Quentin Tarantino • Rian Johnson Looper • Rise of the Guardians • Roman Coppola • Silver Linings Playbook • Skyfall • Steven Chbosky • The Avengers • The Cabin in the Woods • The Central Park Five • The Dark Knight Rises • The Hobbit • The Hobbit: An Unexpected Journey • The House I Live In • The Intouchables • The Master • The Perks of Being a Wallflower • The Sessions • This is 40 • Tony Kushner • Wes Anderson • West of Memphis • William Nicholson • Wreck-It Ralph • Zero Dark Thirty Around The Web

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More Cover Stories Crew Call Photos Videos Steven Spielberg To Receive Filmmaker Of The Year Award From American Cinema Editors Universal City, CA, January 30, 2013 –Award winning filmmaker Steven Spielberg has been selected by the Board of Directors of the American Cinema Editors (ACE) to be honored with the organization’s prestigious ACE Golden Eddie Filmmaker of the Year Award. The award will be presented at the 63rd Annual ACE Eddie Awards ceremony on Saturday, February 16, 2013 in the International Ballroom of the Beverly Hilton Hotel, it was announced today by the ACE Board of Directors. The previously announced ACE Eddie Award nominees in nine categories of film, TV and documentaries is available online: http://ace-filmeditors.org/ace-eddie-awards/nominees-recipients/. “Steven Spielberg is a cinematic treasure,” stated the ACE Board of Directors. “For over four decades he has been moving audiences around the world with his unique, powerful brand of storytelling. As one of the most successful directors in history, he has brought us beloved films, which have not only delighted us but have been indelibly woven into our cultural fabric. Throughout it all, he has worked side by side with the great Michael Kahn, A.C.E., forming a director-editor partnership that has lasted decades. It is our pleasure to recognize him with the ACE Golden Eddie Filmmaker of the Year honor, especially in a year where he has, once again, created a masterpiece with his latest film, Lincoln.” Spielberg is one of the entertainment industry’s most successful and influential filmmakers and a principal partner of DreamWorks Studios. He is the top-grossing director of all time, having helmed such blockbusters as JAWS, E.T. The Extra-Terrestrial, the Indiana Jones franchise and Jurassic Park, earning billions at the box office. He is a three-time Academy Award® winner, having won his first two for Best Director and Best Picture for Schindler’s List, which received a total of seven Oscars® that year. He won his third Oscar® for Best Director for the WWII epic drama Saving Private Ryan. It was also one of the year’s most honored films, earning four additional Oscars®, as well as two Golden Globes for Best Picture and Best Director. He also earned Academy Award® nominations for Best Director for Munich, E.T. The Extra-Terrestrial, Raiders of the Lost Ark and Close Encounters of the Third Kind. Throughout his career he has also earned a staggering eleven DGA Award nominations, making him the most honored member of the DGA. Last year he successfully took on the challenge of working in 3D animation with The Adventures of Tintin, which won the Golden Globe for Best Animated Feature. Last year he also directed War Horse, which earned six Oscar® nominations including Best Picture. Most recently, Spielberg directs two-time Academy Award® winning actor Daniel Day-Lewis in Lincoln, based in part on Doris Kearns Goodwin’s “Team of Rivals,” with a screenplay by Tony Kushner. The film opened November 9th to critical acclaim and has earned over $145 million at the domestic box office to date. It will release internationally in early 2013. ACE, the entertainment industry’s honorary society of film editors, is comprised of over 700 accomplished editors working in film and television. The ACE Eddie Awards recognize outstanding editing in nine categories of film, television and documentaries. Nominees for the 63rd Annual ACE Eddie Awards will be announced on January 11th. Tickets to the black-tie ceremony are available by calling the ACE office at (818) 777-2900. To apply for credentials to cover the ACE Eddie Awards, please send your email to ace.credentials@gmail.com. ACE Eddie Awards, American Cinema Editors, Steven Spielberg Deadline.com Awards OSCARS: Barbra… Mark Goldblatt Wins Runoff For Film Academy Board Of Governors Seat; Steven… ACE Eddie Awards Set 2017 Date Steven Spielberg To Present John Williams With AFI Life Achievement Award FTCS says: January 30, 2013 at 8:04 am Congrats to Steven. The ACE Eddies show is the best in town, because of the respect in the room for the craft…and, because this craft knows better than most how to cut and pace the show. PERMINDEX says: January 30, 2013 at 8:42 am It doesn’t say much for anyone else that ACE has to give the over-honored Spielberg, yet another award…

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FilmGlobal Showbiz Briefs: Ricky Gervais Reviving ‘The Office’… Home by by Nancy Tartaglione Global Showbiz Briefs: Ricky Gervais Reviving ‘The Office’ Character For Movie; Alibaba Group Taps Ex-China Film Group Exec As CEO Of Film Unit; More by Nancy Tartaglione August 5, 2014 9:52pm 0 Film News Alibaba Group Carnival Films Life On The Road Ricky Gervais David Brent, the sad-sack paper company middle manager brought to life by Ricky Gervais in The Office, is ready for his big-screen close-up. The BBC said today that Gervais will reprise the character in Life On The Road, which will track Brent’s life in the years since the series, which aired from 2001-2003 on BBC Two. In the mockumentary-style film, he’ll be a traveling salesman of cleaning products, out to finance a UK concert tour as he tries to live his dream of becoming a rock star. Brent assumes the director is making a rockumentary, but it’s actually a “where are they now?” The film will be made in the UK but is eyed for international distribution. E-commerce giant Alibaba Group, which filed for a U.S. IPO this year, has been making inroads to the movie business, recently taking a majority stake in ChinaVision Media Group and renaming it Alibaba Pictures Group as part of its bid to expand. In a filing to the Hong Kong stock exchange, the company now has confirmed that Zhang Qiang has been named CEO of its film arm. The appointment of the former VP of China Film Group was previously floated by The Wall Street Journal. The exec has also been a producer on local hits American Dreams In China and So Young. It remains to be seen if the hiring of a former bureaucrat is the way to fulfill Alibaba’s Hollywood dreams. NBCUniversal-owned Downton Abbey producer Carnival Films has appointed Danielle Dajani as its new Head of Production and Tara Cook as Development Producer, while promoting Phil Temple to Development Producer. Dajani joins Carnival from Raleigh Studios in Los Angeles, where she was EVP. She previously worked as VP International Physical Production and Production Finance at Walt Disney Pictures. Her other experience includes posts at Aramid Capital in London and Village Roadshow in Sydney. At Carnival she is replacing outgoing exec Kimberley Hikaka. As Development Producers, Cook and Temple will be responsible for the origination, development and sale of Carnival’s upcoming UK and international slates. Cook previously co-produced the first two series of the BBC’s Call The Midwife, having developed the show while she was Head of Development at Sam Mendes’ Neal Street Productions. More recently, she has been developing a number of projects as an independent producer including Lawless with ShondaLand/ABC.

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Last viewed:11th Doctor Christmas Adventure Set 2010 Doctor Who: Podshock Live Show Reviewing 'Closing Time' Scheduled for Sunday, Sept 25th What I'm looking from the change of guard... Stephen Mofat Interview with the British Guardian Newspaper. Steven Moffat on the Second Part of the Doctor Who 2011 Series Louis Trapani - Posted on 16 August 2011 TweetDoctor Who returns on Saturday, 27 August 2011 both on the BBC in the UK and BBC America in the USA. Executive Producer and Lead Writer for the series, Steven Moffat had the following to say about the resumption of the 2011 series in the latest from the BBC Press Office. Some may consider some of this to be a little "spoilery" — so be warned if you rather not know any details about the upcoming episodes for 2011. What do you think of the Doctor's long coat in the promo image? BBC - Press Office - Doctor Who: Introduction by Steven Moffat: "Steven Moffat talks about the new series of Doctor Who. "The wait is almost over. The second part of the thrilling new series of Doctor Who begins on 27 August 2011. "The rules have changed, and the game is deadlier than ever. Out in the universe, where the earthly rules of time and space do not apply, Amy and Rory know only too well that their baby daughter needs them. For Melody Pond is destined to become River Song, mysterious archaeologist and convicted murderer – the woman who killed the best man she ever knew... "The Doctor leads Amy and Rory across centuries and galaxies in a desperate search for baby Melody, but a terrible and inescapable date looms large. At 5.02pm on 22nd April 2011, the Doctor will die. These are his last days, and the quest for Melody his final mission. "The search will result in a crash landing in Thirties Berlin and will bring them face to face with the greatest war criminal of all time. And Hitler. Old friendships will be tested to their limits as the Doctor suffers the ultimate betrayal and learns a harsh lesson in the cruellest warfare of all. "A distress call from a terrified little boy will break through all barriers of time and space and lead the Doctor to visit the scariest place in the Universe. George's bedroom. George is terrorised by every fear you can possibly imagine. Fears that live in his bedroom cupboard. His parents are desperate – George needs a doctor. But allaying George's fears won't be easy. Because the monsters in George's cupboard are real. "An unscheduled visit to a quarantine facility for victims of an alien plague – a plague that will kill the Doctor in a day – leaves Amy trapped. Alone, Rory must find Amy and bring her back to the TARDIS before the faceless doctors kill her with kindness. But Rory is about to encounter a very different side to his wife. "In an impossible hotel, the Doctor, Amy and Rory find themselves checked-in but unable to check out. Walls move, corridors twist, rooms vanish and death lies in wait for every visitor. But the Doctor's time has yet to come. He has one last stop to make on his final journey. His old friend, Craig Owens, desperately needs his help – a new and unfamiliar presence is wreaking havoc in Colchester. And then come the Cybermen. But time catches up with us all and the Doctor can delay no more. "By the shores of Lake Silencio, in Utah, all of time and space hang in the balance. And a NASA astronaut is waiting..."" (Via www.bbc.co.uk) Alex Kingston River Song Moffat's terrible Submitted by Chase on Sun, 09/11/2011 - 12:06am. He's terrible. WHEN will he LEAVE?

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5 Photos from Ridley Scott's EXODUS: GODS AND KINGS MoviePhotosExodus: Gods and KingsRidley ScottChristian BaleJoel Edgertonabout 2 years agoby Joey Paur 20th Century Fox has released five new photos from Ridley Scott's biblical epic Exodus: Gods and Kings, which tells the story of Moses. The movie stars Christian Bale, Joel Edgerton, Aaron Paul, John Turturro, Sigourney Weaver, and Ben Kingsley. Scott is amazing when it comes to making these kind of ancient period films, and I really am expecting something great. I know he can deliver. When talking about working on the film the director had this to say: “What I thought I knew about Moses I didn’t really. Either I wasn’t paying attention in Sunday school or I had forgotten. I was knocked out by who he was and the basics of the story—it has to be one of the greatest adventures and spiritual experiences that could ever have been.” Bale plays the prophet Moses in the story, and when asked about Charlton Heston's version of the character, this is what he said:“Charlton Heston does Charlton Heston better than anyone. But the biblical account of Moses is extraordinary, and there was lots of room for us to go to places that [Heston’s movie] The Ten Commandments never dreamed of going.” Edgerton was cast in the role of Ramses, which is a very interesting choice, but one i think will pay off. This is what the actor had to say about landing the role in such a high profile movie:“When you’re Ridley, you pick up the phone and people will turn up. I had to battle demons of self-doubt to feel like I belonged in this club… You take the hair off a man you never know what he’s going to look like. It’s like when you throw a bucket of water on a little dog. When Ridley first called me I have to admit I was like, ‘Really, me—Pharaoh of Egypt?’ But he made it work.” He went on to talk about the relationship of his character with Moses:"There’s a deep connection between the two of us. It becomes a really complicated relationship that starts with a lot of love and companionship and ends with destruction.”The movie is set to be released on December 12th, and it looks and sounds like it's going to be awesome! Expect to see the first trailer soon. Facebook< Jedi Hunter Fan Art for STAR WARS: EPISODE VIIThe Muppets as Comic Book Characters - Art Series

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Rediff.com » Movies » Pirates could make Depp a huge star Pirates could make Depp a huge star A breezy, spectacular entertainer for a good two hours plus, still faces the problems of an uneven script and bloated, over-directed action scenes. But it should have more than a smooth run at the box office and earn a big booty for Walt Disney. The film is inspired by a Disney theme park. Though promoted as a movie for the entire family, children below 10 might get scared by its violent scenes. The movie could also give the endearingly roguish and funny Johnny Depp the biggest hit of his career, making more money than his 1999 hit Sleepy Hollow, which grossed a handsome $220 million worldwide. Forty-year-old Depp, one of Hollywood's fiercely independent actors who has never shied from eccentric films such as Fear And Loathing In Las Vegas, clearly enjoys himself in this splashy film. The film could make him a huge star. It could also consolidate director Gore Verbinski's reputation as a man who knows the public pulse very well. His hits include the whimsical Mouse Hunt led by Nathan Lane, the intriguing Brad Pitt-Julia Roberts thriller The Mexican and the remake of the Japanese horror flick, The Ring. But he has never made a film on as grand a scale as Pirates Of The Caribbean. Set in the 17th century, the tale revolves around the charming Captain Jack Sparrow (Johnny Depp), who loves his idyllic life and his rum. Until a wily and ruthless Captain Barbossa (Geoffrey Rush) steals his ship, the Black Pearl.Jack is left to die on a small, uninhabited island. He escapes to Port Royal, where he is ordered to be executed for being a pirate. But he avoids execution when Elizabeth (Keira Knightley), daughter of the governor (Jonathan Pryce), is kidnapped by Barbossa, who thinks he can use her to remove an ancient curse. Elizabeth's childhood friend Will Turner (Orlando Bloom), who carries a secret flame for her, joins Jack to commandeer the fastest ship in the British fleet in an attempt to rescue Elizabeth and recapture the Black Pearl. But the evil pirates are not the only people Will and Jack have to worry about. Two men are pursued by Elizabeth's betrothed, the very colourless and stiff Commodore Norrington (Jack Davenport). The would-be rescuers initially do not realise Barbossa and his crew suffer from a curse that turns them into skeletons in the moonlight. To overcome the curse, Barbossa needs has to have a piece of loot carried by a member of Jack's party and a drop of blood from Elizabeth. The movie, apart from several engaging performances, including one from Rush, also has a handful of spectacular chase scenes and swordfight sequences. But the romantic triangle doesn't work well. The confrontation between Jack and Barbossa is the best part of the film. Both actors overact, but they are able to energise the film considerably. Knightley (from Bend It Like Beckham) makes a luminous contribution in her first big budget film (Pirates cost about $120 million).But everyone's performance is dwarfed by the relentlessly giddy fare Depp dishes out right from his first screen appearance. While the film is racy and slick, its characters lack the real human touch and depth that could have turned it into a memorable feat. Right now, it is an enjoyable ride. But how many of us would want to go back? CREDITSCast: Johnny Depp, Geoffrey Rush, Orlando Bloom, Keira Knightley, Jack Davenport, Jonathan Pryce Director: Gore VerbinskiScreenplay: Ted Elliott, Terry Rossio Producer: Jerry BruckheimerDistributor: Buena Vista Pictures Click here for more reviews Arthur J Pais ShareComment

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Home zzz-Archive Reviews The Man Who Wasn't There The Man Who Wasn't There by Kent Williams May 31, 2001 × Expand After O Brother, Where Art Thou?, I thought I was prepared to follow the Coen brothers anywhere. Now, I wonder. They've always been an uneven writing-directing team, although we critics can't seem to agree on which movies were good and which were bad. Personally, I loved The Hudsucker Proxy and hated The Big Lebowski, but that's just me. Still, I find it hard to believe that too many people will be swept away by The Man Who Wasn't There, a retro-noir that stars Billy Bob Thornton as a guy who, for whatever reasons, has locked the doors, turned out the lights and shut off the gas. I'm referring to his personality. To say that Thornton's Ed makes Humphrey Bogart look like Russell Simmons is to leave open the possibility that Ed, if checked out by a doctor, would register a pulse. Like the marquee says, the guy isn't there. "Yeah, I worked in a barber shop," Thornton says in a tired voice-over, "but I never considered myself a barber." It's a funny line ' a poke in the ribs of hard-boiled writers like James Cain, whom the Coens are paying homage to. Thornton's Ed bears the mark of Cain ' "a good-looking down-and-outer who leads the life of a vagrant and a rogue," as Edmund Wilson once described the typical Cain "hero" in an essay called "The Boys in the Back Room." But, come to find out, Ed has aspirations, and they can be summed up in one word: dry-cleaning. Sold a bill of goods by a traveling salesman (the splendiferously toupeed Jon Polito) moving through town, Ed needs $10,000 to invest in this revolutionary technique, and he knows just how to get it: blackmail the man his wife's been having an affair with. Those two hucksters are played by James Gandolfini and Frances McDormand (weirdly cast as a femme fatale), neither of whom leaves much of an impression, but leaving an impression may not be at the top of the list for a movie called The Man Who Wasn't There. Instead, I think we're supposed to soak up the dark, dank atmosphere ' late-'40s, a sleepy town in California, everything rendered in inky blacks and silvery grays. The Coens shot the movie on color negative film, then had it printed in black-and-white, and the result is a slightly new shade of film noir. And, especially early on, Ed's barbershop is so lovingly photographed that you almost lose yourself in the tiny filaments of hair as they float toward the tile floor. Even the clippers and comb in Ed's smock pocket take on an iconic luster ' from hair to eternity. But there simply isn't enough going on in The Man Who Wasn't There; the movie itself is barely there. Not that the Coens don't come up with lots of plot twists, one for each curve along the Pacific Highway. But there's no forward momentum, no sense of urgency, and we're not quite sure what to make of these people. When Tony Shalhoub shows up as a big-city lawyer let loose on a small-town jury, it's a relief to sit back and enjoy his shyster shenanigans. ("I litigate, I do not capitulate," he says, evoking Johnnie Cochran, of all people.) Unfortunately, we spend the vast majority of our time with Thornton while he pursues the fine art of non-acting. You have to admire the Coens for taking such risks with the audience's sympathies, but you don't have to admire the movie itself. For me, the high point was the movie's very first shot, when we're invited to stare dumbly at a barber's pole. Those swirling stripes are mesmerizing.

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0shares tweet now!0shares tweet now!LOS ANGELES (AP) - One thought struck me as I watched the new "Hobbit" movie in the latest super-clear format: "The rain looks fake. It's not hitting their faces!"That is just one consequence of filmmaker Peter Jackson's decision to shoot his epic, three-part "Lord of the Rings" prequel with a frame rate of 48 images per second, double the 24 that cinemagoers have experienced for the past century.The higher frame rate is supposed to make fast action scenes look smoother, without strobing or other cinematic flaws. But the image is so crystal clear that it can dispel the illusion of the fantasy world.Jackson used his own money to pursue the new technology, covering the higher production costs involved with adding special effects to twice as many frames.The studio also backed the format because it creates something new and different that can only be seen in theaters at a time when movie ticket sales in the U.S. are stagnating. For the time being, the new format isn't compatible with Blu-ray discs, DVDs or Internet video. Many people will buy movie tickets just to see what it's like."The Hobbit: An Unexpected Journey," the first of three movies based on J.R.R. Tolkien's "The Hobbit," opens around the world starting Wednesday and in the U.S. on Dec. 14. About 10 percent of U.S. theaters that carry the movie will offer the higher-frame format. U.S. theaters aren't charging extra, though the format is offered only as part of 3-D screenings, which cost a few dollars more than regular tickets.In the screening I attended, the higher frame rate did smooth out the staccato effect common in action-packed movies. I thought some scenes using computer-generated images looked more realistic. The format brought out details that might not be noticeable with just an increase in resolution.These are benefits for fans of the kind of heart-pumping fight scenes that are peppered throughout the movie. For some people, it is also touted to help ease the eyestrain they experience when watching movies in 3-D, though I didn't notice any difference on that front.Sometimes, though, the images can look too good.In the rainy scene I mentioned, the intense clarity made it look as if actors with wet hair were moving between carefully placed artificial rain-makers instead of suffering through an actual downpour. So-so acting was more noticeable, and swords that were swung too easily looked like props. Flickering flames and other quickly moving objects sometimes appeared to race along in fast forward, even though that wasn't the intent.Several people who have seen "The Hobbit" in "HFR 3D" have concluded that 48 frames per second is not for them, even those who wanted to fall in love with the technology."When I actually was watching it, I was trying to convince myself it was great," said Chris Pirrotta, co-founder of the Tolkien fan site, TheOneRing.net, who reviewed the movie under the pseudonym Calisuri. "Eventually I realized I kept being taken out of the story. ... The realism of the environment really took me out."The Hollywood Reporter's Todd McCarthy said the high frame rates appeared to him like "ultra-vivid television video." The Associated Press' David Germain said the extra detail "brings out the fakery of movies." Variety's Peter Debruge said the benefits of high frame rates come at "too great a cost," adding that "the phoniness of the sets and costumes becomes obvious."That's not a great reception for a technology that has the potential to change the movie-going experience. "Avatar" director James Cameron is among those who are eyeing the format.Since the advent of the "talkies" in the 1920s, 24 frames per second has been the standard, picked because it was the lowest frame rate that would allow for acceptable sound fidelity. Higher frame rates have always been possible but at the cost of using more film.Moving to 48 frames per second has become easier in the digital age. Most high-end digital video cameras can shoot at the rate with the flick of a switch, and the vast majority of digital projectors now sold to theaters need only modest software or hardware upgrades to show such movies.High frame rates aren't completely new to audiences. Digital TV broadcasts in the U.S. have been transmitted at higher frame rates for years, said Peter Lude, president of the standards-setting body, the Society of Motion Picture and Television Engineers. TV images look very clear because they're refreshed 60 times per second, even though only half the image hits the screen each time.By contrast, movies shot at 24 frames per second are blurrier. That's because movie cameras' shutters are open longer at slower frame rates. As people or cars in a scene move, more of that motion is captured in a single frame, resulting in blur. Many people describe this as a "film look" that is "soft" or "cinematic."It also means that some details remain too blurry to be seen, helping hide imperfections and making life in the movies appear somehow better than reality.The traditional frame rate also leaves in some so-called "artifacts" that most people nowadays subconsciously accept as part of the movie experience, Lude said. Credits can seem to roll up the screen in dozens of little hops, and quick pans of a restaurant can seem staggered. It's one reason why filmmakers focus on passing waiters in such shots, so we're not distracted by these flaws, he said."What (Jackson) did was eliminate an artifact that has been present in all movies since the 1920s," Lude said. "Now it looks more real. Some people say, 'I don't want it to look more real.'"Jackson compensated for some of the increased clarity by purposely leaving the shutter open longer than normal, adding back some of the lost blur. Still, the images are sharper than before.Jackson has said on his Facebook page that this adjustment gives his high frame rate version a "lovely silky look" while also making the traditional 24 frames per second version "very pleasing."At a press tour in New York on Thursday, Jackson said it will be up to audiences to decide."As an industry, we shouldn't really assume that we achieved technical perfection with motion pictures back in 1927," he said. "There are ways to make the theatrical experience more spectacular, more immersive and that's what we're trying to do."Time Warner Inc.'s Warner Bros., which is distributing the movie, is being conservative with the new format, careful not to bet too heavily that audiences will love it.The studio is releasing higher-frame versions only in 3-D, not 2-D, partly because the perceived benefits are better in 3-D. And it's limiting such screenings to about 450 locations in North America, a little over 10 percent of the footprint of most major wide release movies. About 1,000 screens in the world will show "The Hobbit" in higher-frame 3-D. That's far fewer than the tens of thousands of screens that projector makers Barco Inc. and Christie say are currently capable of showing the format worldwide."Nobody wants anyone to feel like this is something being shoved down their throats," said Carolyn Blackwood, an executive producer on the movie and executive vice president of the Warner Bros. division New Line Cinema. "People don't always embrace change."She said the studio's strategy is to give fans a choice."If people are interested and want to see what we're talking about, they'll seek it out and they'll find it and it'll be available," she said. "If they're filmic kind of people, they can go and see it in standard 24 frames per second and be happy."U.S. theater owners aren't charging extra for it, saying they want to give people a chance to experience something new for free."We believe this will deliver great value to our guests," said Ken Thewes, chief marketing officer for Regal Entertainment Group, the largest theater owner in the U.S.And despite the increased clarity, 48 frames per second is not the limit. Cameron has said he's considering shooting the sequels to "Avatar" at a rate as high as 60 frames per second.Barco demonstrated for the AP footage of training boxers shot at 120 frames per second. The impact is a stunningly real picture that makes it seem as if you're looking through a giant window onto the real world.Not all filmmakers will choose to shoot this way, but they'll increasingly have the option to create different moods. Think of how slow-motion scenes can seem more dramatic, or intentional strobing as seen in "Saving Private Ryan" or "Gladiator" can relay a sense of confusion."That's where the creatives will have these options and tools at their disposal and decide whether they're going to capture and present at 48, 60 or maybe 120," said Patrick Lee, Barco's vice president of digital cinema.David Mullen, a cinematographer who has shot movies such as "Jennifer's Body" and "Akeelah and the Bee," said higher frame rates could be better for authentic settings, but could make the artifice of fantasy tales "more obvious rather than more believable."One solution, he said, is "just do everything better in terms of stage craft and post effects."___Associated Press writer Nicole Evatt in New York contributed to this report.component-story-more_media_horiz-v1-01TrendingOffbeat NewsLong Island artist paints Pokemon mural Family: Woman accused of driving SUV into Safeway suffers from bipolar disorder Thieves steal $42,000 worth of energy drinks in California FOLLOW US ON TWITTERQUICK LINKSNewsWeatherSportsKVAL INFORMATION

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Review: Movie version of 'Les Miz' sings to certain crowd Michelle F. Solomon, Contributing writer I've seen the stage production of "Les Misérables" 10 times. I counted. I also watched the PBS special "Les Misérables 25th Anniversary," the one with a Jonas brother (Nick, to be precise) in the cast, twice when it aired last March. Now I can add the movie version to my list. Director Tom Hooper, who won the 2011 Oscar for Best Picture and Best Director for "The King's Speech," is behind the camera for "Les Miz," producer Cameron MacKintosh's 25-year dream of getting his Broadway play on film.Watching "Les Miz, The Movie," however, won't be everyone's dream night. It clocks in at 165 minutes and nary a word is spoken; this is a Broadway modern opera where every inch of the story is told in song. If you weren't a devoted musical theater fan before you committed almost three hours of your life to this film, "Les Miz" will not convert you.Yet, what nontheaterphiles will find to entertain them is an A-list cast who sing their hearts out (whether they can sing or not). If you haven't heard, since it's been trumpeted everywhere, there was no lip syncing for this movie. Hooper insisted that the actors sing live with only piano accompaniment in their ears while the cameras rolled; the orchestrations were added later. This is supposed to be groundbreaking, and add more drama to the performances.Hugh Jackman, an experienced Broadway actor, puts in the most solid showing as Jean Valjean, a petty thief who has spent his life running from the law. His crime? Stealing a piece of bread. Jackman's job to stay one step ahead seems more tedious than his character's. There are times that poor Hugh appears to be working harder than everyone in the cast in order to keep this musical melodrama from taking a nosedive. At least that's the way it feels. His voice is truly amazing, however, and he sings a few notes that sound like they should register in a frequency unable to be heard by humans. Anne Hathaway, whose performance is getting Oscar buzz, plays Fantine, the factory worker who takes to the streets to keep her daughter fed. Hathaway gets the signature song, "I Dreamed A Dream," which she plays to full melodramatic effect. Hooper believes a constant close up of Hathaway's face as she cry-sings the words, her face full of tears, her nose Rudolf red, will offer that emotional punch, and her performance will rip your heart out. Hathaway didn't make me cry like Susan Boyle did. Perhaps it's the difference between a performance that's truly heartfelt and one that is played to purposely tug at your heartstrings.The other joy besides Jackman is Eddie Redmayne, who was so memorable in "My Week With Marilyn." Here, he brings the same innocent charm as the young rebel Marius.Newcomer Samantha Barks as the innkeepers' daughter, Eponine, is another standout. Her rendition of "On My Own" is realistically dramatic and utterly heart wrenching.Give Russell Crowe a hero's medal for taking on the role of Inspector Javert, the former jail guard who has spent his life's work tracking Jean Valjean. His gruff baritone, with Hooper pumping up the volume and shooting Crowe in a few tonsil-showing close ups, won't put Crowe on the short list for more singing roles, for sure. And Amanda Seyfried, whose voice was so wonderful in "Mamma Mia," sounds like a small warbling bird in her role as Cossette, seeming as if she could break at any moment.Helena Bonham Carter and Sascha Barton Cohen as husband-and-wife innkeepers who are constantly on the take add comic relief, but are over-the-top manic, which loses its appeal soon after their first clownish number. And what is it with Bonham Carter's roles of late; does she have a clause in her contract that says she must sport brown and disgusting prosthetic teeth for every role?Staging the musical adaption of this 150-year-old French novel in any incarnation is a monstrous and daunting task, and there is much to be appreciated in this production, from the sweeping location shots to the period costumes. Hooper certainly had a vision and it comes through clearly. He has created a Hollywood musical of astounding proportion.Mizfits (the nickname for rabid fans of the stage productions) will find a dream come true in this production, but for ticket buyers who have never been exposed to the musical adaptation of Victor Hugo's 1862 classic novel? I'll bet a pittance that their "Les Miz" list never gets past the "I've seen it once" mark.

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Keiko Matsuzaka in ?ta, Tokyo Keiko Matsuzaka is a Japanese actress. Born in ?ta, Tokyo, her father was a naturalized South Korean while her mother was Japanese. Active as a child actress in the 1960s, she came into her own as an adult with Daiei, then in 1972 with Shochiku. Keiko played the "Madonna" role in the 1981 film Naniwa no Koi no Torajir?, the 27th in the Otoko wa Tsurai yo series. The producers called on her again for that role in Torajir? no Endan, the 46th of the 49 installments. Keiko also appeared in Legend of the Eight Samurai, Shin Izakaya Y?rei, Dr. Akagi by Sh?hei Imamura, Runin: Banished by Eiji Okuda, and Inugamike no Ichizoku. She won the award for best actress at the 6th Hochi Film Award for The Gate of Youth and Tora-san's Love in Osaka, and at the 15th Hochi Film Award for The Sting of Death. Her early television appearances have included the tokusatsu superhero series Ultra Seven. She portrayed Nohime, wife of Oda Nobunaga, in the 1973 NHK Taiga drama Kunitori Monogatari. From 1973 to 1981, she appeared in Edo o Kiru, including five seasons as the character Oyuki.

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The Brits A Look Back At John Oliver’s Pre-‘Daily Show’ Work By Elise Czajkowski July 22, 2013 John Oliver has been killing it as the guest host of The Daily Show this summer. He’s tackled major intelligence scandals, game-changing legal decisions, and untimely power outages so perfectly that it’s hard to believe this isn’t his full time job (…yet). Undoubtedly, part of the reason he’s such a natural is his length of time with the show – he joined the cast of The Daily Show in July 2006, and the writing staff the following year. He’s now beloved in the US, hosting his own Comedy Central standup show, recurring on Community, and co-hosting the excellent satirical podcast The Bugle. But when he crossed the pond seven years ago, the British standup was almost unknown in the States. In many ways, all of Oliver’s career seemed to be setting him up perfectly for a turn at The Daily Show. At a 2001 show at the Edinburgh Fringe, he played the part of an “oleaginous journalist,” a character he has since inhabited frequently as a Daily Show correspondent. Along with his Bugle co-host Andy Zaltzman and The Thick Of It’s Chris Addison, Oliver was often cited as part of the resurrection of political comedy in the UK in the early to mid 2000s. He and Zaltzman performed live as a double act, with elaborately-titled shows like 2004’s “Erm… It’s About The World… I Think You’d Better Sit Down”, and 2005’s “John Oliver and Andy Zaltzman Issue a List of Demands and Await Your Response with Interest,” titles not too far off from the classic run-on names for Daily Show segments. Following on the success of those live shows, Oliver, Zaltzman, and Addison went on to record three seasons of radio satire The Department, about a shadowy organization tasked with fixing all of society’s problems. Most of the series can be found here; in the first episode, the trio try to sort out education. The show was an absurdist, Upright Citizens Brigade-meets-1984 look at the running of the British government, with Oliver playing a clueless, self-interested lawyer unencumbered by logic or morality. The series, and his character, could easily exist in the same delusional world of many Daily Show field pieces. Zaltzman and Oliver also produced a standup show, “Political Animal,” in which the duo hosted other standups doing their best political and social material. A 2005 reviewer said the show as ideal “if you want to hear some thoughtful topical comedy and don’t mind occasionally being preached at late at night,” which could certainly double as review of The Daily Show. Around this time, Oliver was beginning his TV career, appearing on the first episode of the still-popular BBC Two panel show Mock the Week in June of 2005. He was a regular panelist on the show for its first two seasons. MTW was a good showcase for Oliver’s topical material (though the highlight of this episode is his completely apolitical and delightfully absurdist rant about owls), but what’s most striking in those old episodes is Oliver’s lack of material about Americans. Easy jokes at the expense of the US were standards for most political UK comics during the Bush years, but they’re not found in Oliver’s repertoire. His seeming uneasiness with Anglocentric jokes is made even clearer when he calls out an anti-French joke and shames the audience for their Francophobia. Whether he had international ambitions at the time or was simply uninterested in jokes with a nationalistic flavor, he was one of the few British comedians who could honestly step into an American institution like The Daily Show without a history of lazy anti-American jabs. Unlike many comedians, who attempt to break the US after dominating in the UK, Oliver was still a rising comic in Britain in 2006. Despite being lovingly described by his best friend as “a mediocre comedian with delusions of originality” in a 2001 piece in The Guardian, Oliver was generally recognized as a promising young talent. He was described as “a comedian who’s cerebral and uncompromising material confronts the most surprising subjects, from politics to penguins, in his own achingly original style that proves it is possible to be hilarious and thought provoking in equal measure” by the BBC in 2005. “I like people that are a bit weird, and John Oliver fits the bill,” wrote British political comic Jeremy Hardy in the same year. “Sometimes his audience is hooked, and sometimes they’re confused, but I think he’s something special […] There is no great correlation between talent and success, but John deserves to be successful.” And successful he’s been; the following year, he was hired mid-summer as The Daily Show‘s “UK correspondent.” The August 1 hire was so abrupt, he had to move to the States immediately rather than appear at that year’s Edinburgh Fringe Festival. But it appears to have been worth it. Oliver is the first Daily Show guest host in seven years, and former go-to guest host Stephen Colbert has done alright for himself. Given how well he’s done this summer, Oliver is likely to be at the top of many people’s lists when the next network late night show is up for grabs. Once again, he’ll have all the qualifications for the job Looking for more early Oliver? Here are his six other appearances on Mock the Week: Elise Czajkowski is a Contributing Editor at Splitsider. She’ll jump at any opportunity to watch panel shows on YouTube. The Cast of ‘Don’t Think Twice’ Just Made the Most Viral Video Ever british comedycomedy centraljohn oliverthe buglethe daily showtv More ... 18 Things You’d Be Surprised Happened on ‘The Simpsons’ If You Stopped Watching in 2003 The 20 Best Forgotten Sketches from ‘The State’ The Annotated Wisdom of Amy Poehler How Improv Helps Television’s Best Comedy Writers How Jim Norton, of All People, Taught Me Trans Acceptance The Chase Is the Thing and the Thing Is the Chase: Learning to Love Failure Meet ‘Saturday Night Live’s Six New Writers The Next Wave: The Top 10 Up-and-Coming Comedians on Each Coast

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Home Forum Columns Daniel Pickett Jason Geyer Ryan Prast Danny Neumann Erik Skov Jeff Cope Steve Ceragioli All Authors Super Powers Blog Galleries Photos Videos Archives Super Powers Archive Secret Wars Archive Articles Archive Toy Library About Unfinished Man Home Daniel Pickett Jason Geyer Ryan Prast Danny Neumann Erik Skov Jeff Cope Steve Ceragioli Super Powers Blog Super Powers Archive Secret Wars Archive Toy Library The Best Darn Toy News On The Web! Thursday, August 25, 2016 TEN Things That Need To Be Answered On LOST From the first few minutes of the premier, it seems like Lost has raised hundreds, if not thousands of questions that need answering. However, as I sit down to think about what questions truly NEED to be answered in the final season that is about to begin, I am shocked to find it really boils down to just ten questions – some simple, some complex. If you look at the "Unanswered Questions" page on Lostpedia, you have to laugh out loud at some of the questions people have put up there. Will my enjoyment of Lost be increased if we find out why Desmond was dishonorably discharged from the military? Heck no. If anything, I would be upset if the writers wasted time in going back and answering such trivial matters. Every minute is precious in the final season. This isn’t a post about predicting what’s going to happen – it’s a post about identifying the big questions for the season. We’ll worry about addressing them each as they come up over the course of the season through the traditional episode previews and analyses – which will include my usual smart-ass sidebars. But these are the things that should be in the back of your head as you watch Lost’s final season. So without further ado, I give you my "Top 10 Unanswered Questions on Lost That Need To Be Answered", along with the likelihood of each happening: 10. Juliet and the Jughead (100% Chance of Being Answered). The final moment of Season Five sneaks onto the list at the last moment, narrowly bumping off "What happened to Kate’s black horse" as the tenth biggest question we need answered this season. Exactly what happened when Juliet detonated the Jughead will be one of main driving forces of the Season Six storyline. It seems that we got a sneak peak in the trailer where our Survivors suddenly find themselves back on Oceanic 815. Is this a new reality? If so, will they have memories of their time on the Island, or will they all be strangers? Or did the Jughead just magically blast our Time Traveling Survivors back to the "present" in the current timeline, neatly tying up all the time traveling antics from last season? After the bumping around on the flight and then nothing happening, does Jack know what they missed? The answer to this question will have a huge effect on what the overall "point" of Lost really ends up being… is it fundamentally a show about traveling through time and changing the past, or a show that proves that’s impossible even with all the Island’s magical "unique properties"? Is it a show about accepting fate or changing it to save the world? They’re really big questions that we might not understand fully until Lost is over. http://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Elizabeth-Mitchell.jpghttp://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Elizabeth-Mitchell.jpgAs for Juliet and the Jughead, it’s an answer we should receive fairly early on in Season Six (after the writers probably totally confuse and mess with our minds for the first episode or two). 9. Adam and Eve (90% Chance of Being Answered). The identity of Adam and Eve seem like a fairly minor outstanding question on Lost. In fact, I’d be willing to wager that 50% of people who watch Lost have totally forgotten about the brief scene in Season One where Jack comes upon two skeletons with white and black stones laid to rest in the caves. However, early on, Damon and Carlton pointed to this scene as "proof" that they’ve known what they were doing all along, and had a master plan – as opposed to me, who makes stuff up as I go along akin to Saturday night at the Improv… like this post – who knows if I’ll be able to come up with 10 Unanswered Questions or not? Stay tuned! So, back to the issue. This makes Adam and Eve extremely important characters to the obsessive fans of Lost. It also makes you wonder how important these characters will be to the storyline of Lost itself. http://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=AdamandEve.jpghttp://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=AdamandEve.jpgI have a hard time believing the writers (in 2003) sat down and said "Hey, we need to include a scene where Jack comes across two skeletons because in Season Six we’re going to reveal that they are two non-important background characters. The audience is going to go crazy when they find out we knew this all along!" No – something tells me that these characters are going to be fairly major – like, Jack and Kate, Desmond and Penny, Jacob and Anti-Jacob, etc… and I do think we’re going to go crazy when we find out. 8. The Island History (75% Chance of Being Answered). There’s a lot you could group into this category – everything from the creation of the Island itself, to who installed the Frozen Donkey Wheel, to who built the Four Toed Statue, to the fate of the crew of the Black Rock (and maybe the S.S. Minow). The Lost creators have always said that the Island is a character on the show, yet it’s the character that we know the least about (save for a few newer characters). A true "Island flashback" could quickly and effectively answer a lot of these questions about the history of the Island, yet I almost feel like the opportunity to tell that story was during last year’s time-traveling shenanigans. Or maybe we’ll find out all these answers through flashbacks of the life of the eternal Richard Alpert? I know some fans are going to want all the nitty-gritty details about every era of life on the Island. I don’t need that, but it would be nice to get some explanation for some of the more major events in the history of the Island. Getting this information isn’t a given, and I can appreciate leaving some of the "mystery" of the Island left unexplained to allow the Island to be different things to different people – but I think we’re due for at least a healthy chunk of information about Island History this season. 7. Good and Evil (10% Chance of Being Answered). From the getgo, Lost has always been pretty ambiguous about who is "good" and who is "evil", preferring to color most characters a number of shades of grey. It’s a realistic way to approach things, and allows the audience to draw their own conclusions about the moral justifications of each characters’ actions. I like it. But in the end, don’t we need some answers about the true motivations of characters like Ben? Has he really been doing semi-evil deeds all for the benefit of the Island? Or is he just a pawn in a bigger game between Jacob and Anti-Jacob? And with the introduction of Jacob and Anti-Jacob, don’t we need to know which one to be rooting for in the final season? Or is the whole point that both make good arguments, and it’s up to the viewer to decide whose side they agree with more? My biggest fear is that the"series ending" for the show involves our Survivors triumphing over the Others in some fashion, only to discover that by doing so they accidentally ruined any chance for saving the world / world peace / etc. This would be the ultimate "twist" at the end which would make you go back and re-watch the series from a totally different perspective. Over the years, I’ve realized this p robably isn’t going to happen – but fundamentally, I think the audience still deserves to know if the actions of our Survivors on (and off) the Island made the world a better / worse / or the same place. 6. Jacob and Anti-Jacob (85% Chance of Being Answered). As referenced under "Good and Evil", one of the biggest questions to come out of Season Five is "who – or what – are Jacob and Anti-Jacob?" Are they gods? Non-aging folks like Alpert? Time traveling buddies like Bill and Ted? People from an alternate reality trapped in ours? You can come up with countless semi-plausible explanation, and the answer has huge ramifications to the entire series. Are Jacob and Anti-Jacob two more intriguing side characters in the Lost universe, or are they the two most important characters in the Lost universe that we were only introduced to during hour 103/121? (Note: if this is true, man, no wonder they weren’t worried about fans "figuring out" the show way back in Season One!) http://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Jacobs.jpghttp://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Jacobs.jpgMuch like finding out what happened when Juliet detonated the Jughead, the answer to this question has the power to fundamentally shift what Lost is actually about, and what the point of the show ends up being. Are our characters merely puppets in the game of two eternal entities, or are they critical players in a scheme to save / destroy the world? I think it’s less likely that we get an explanation of precisely WHAT Jacob and Anti-Jacob are, but I expect we’ll find out their intentions and how are Survivors come into play early on in the season – and it’ll be a driving force for the remainder of the series. 5. The Others (50% Chance of Being Answered). Every year since Season One, I’ve been super confident that we’re FINALLY going to get the answers in the upcoming season on the Others. Every year I’ve been as correct about this as I was about Gore really winning Flordia. Will this year be any different? Will Season Six be the year we FINALLY learn who the Others are, where they came from, what their purpose is, and what their "rules" and "laws" are? Or will we once again be teased with fleeting glances of their society and lives while being kept at a distance to never fully understand these mysterious Islanders? In a perfect world, we would FINALLY get to see some of the events from the first five seasons from their perspective, or at least learn what their intentions were for all the stuff they did for the first five seasons of Lost (I’m looking at you, kidnapping Claire, injecting our Survivors, stealing people based on Jacob’s list, sending Ben to the Swan Hatch, etc.) Maybe Season Six will start with Alpert (and Ilana) explaining the culture of the Others, who Jacob and Anti-Jacob are, and what they all need to do to (which will drive the action for Season Six). Or maybe they’ll be all mysterious and only give partial answers, like they have for the past five seasons. It seems like the writers have had ample opportunities to explain The Others during the first five seasons and passed them up, which means either the answers are so revealing they had to be held back for the final season – or they have no intention of ever giving us this much detail. Here’s hoping for the former, but I put this one at a 50/50 chance at best. I think these guys just like tormenting us. 4. Fate vs. Destiny (50% Chance of Being Answered). This is one of the "headier" outstanding questions on Lost, and probably not the first one that people think of in the grand scheme of things – but I think it’s extremely important to the audience understanding the fundamental question of "What is Lost about?" Was it dumb luck that brought all our Survivors to the Island in the first place, or was it a greater power (Jacob / God / Vincent) acting upon them to ensure they ended up there? Are they all part of a massive plan, or was it all luck and coincidence that brought them all together? Is there some unifying trait that ties all the Survivors of Oceanic 815 together and makes them "special", or are they just a group of strangers who survived a plane crash in the middle of the ocean on a funky island? Is the story of Lost about how those strangers dealt with an extraordinary experience, or the story of some very specific people being called to the Island for a very specific purpose? http://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Fate-1.jpghttp://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Fate-1.jpg Then there is the big outstanding destiny question from last season, whose outcome is still unknown. Is it possible to change the river of the future if you throw a big enough rock? Or are we predestined to travel down that path no matter what we do? Did "whatever happened, happened", or "whatever happened, happened unless you’ve got a Jughead"? I could very easily see the writers leaving this one up to the more philosophical viewers in the audience, but personally would like some hints at the answer. Which leaves us with "The Big Three"… 3. Smokey (95% Chance of Being Answered). The first WTF moment of Lost is probably the longest running mystery on the show. Smokey’s presence was felt in the pilot episode, and over the past six years we’ve gotten better views of him… and even some hints at his motivation and purpose – yet we still have no idea what he is and what drives him. Is he Nanobots? Is he the physical manifestation of the Island Spirit? Is he an extension of Jacob or Anti-Jacob? Does he simply act as the judge, jury, and executioner for the Island? Has he always been there? Was he created or born? Why does he sometimes attack people vs. scanning them vs. morphing into people to talk to them (or so it seems)? And why do the pylons deflect him? http://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Smokey.jpghttp://s15.photobucket.com/albums/a385/dmbeternal/?action=view&current=Smokey.jpg So many questions. I’m confident we’re going to find out some answers about Smokey. We may not get the "nuts and bolts" explanation of how he works (since the Lost writers are on record as saying they wouldn’t go into as much detail as explaining what "The Force" is, since that ruined Star Wars – or so I’ve heard), or what he is made of (probably because there is no good "scientific" explanation since the writers ruled out Nanobots years ago), but I think we’ll get a solid explanation of his purpose. The fact that the writers have waited so long to give us that answer means one of two things – either he is directly related to Jacob / Anti-Jacob, characters that we didn’t meet until the fifth season finale (thus, they couldn’t explain Smokey before then), or, it’s something so big and critically tied to the mythology of the show as a whole that when it’s revealed, the show will lose all mystery and we] ]> TAGS: General Glenn Moss Born in 1952 (you do the math), making me one of the proverbial "old farts" involved in toys, comic books, and other juvenile activities that everyone said I should have outgrown decades ago. Fortunately, my wife of 36 years is an understanding soul. A firm believer in the philosophy of Groucho Marx, George Carlin, Robin Williams and Chris Rock. Am now indoctrinating my grandchildren to carry on so that when I finally fade away there will be another generation of odd neighbors who seemed nice and kept to themselves. Read other articles by Glenn Moss. j1h15233 says: January 30, 2010 at 3:06 pm For anyone who doesn’t want any spoilers about season 5 please don’t read the rest of this comment. I won’t mention the name but if you’ve seen season 5 you’ll know who I’m talking about….I kind of think Adam and Eve may be a certain corpse we saw who also happens to be walking around commanding other people. One with white and one with black. Bill says: February 1, 2010 at 8:26 am I have high hopes for this final season. For the most part, I think I’ll be happy. But the sheer number of questions (many of which appear under the character specific section) seems impossible to adequately answer in the time alloted. I’m sure some of the more diehard fans will be upset that some particular detail was overlooked, but overall, I believe we’ll be happy. At least I know what I’ll be doing every Tuesday night for the next few months. Glenn2000 says: February 1, 2010 at 9:35 am I agree completely, Bill. The fun of LOST is that no matter how many questions are addressed, there will always be more of them that are unanswered. And, yes, I think many of the diehards will be gnashing teeth and wailing because everything isn’t served to them on a silver platter. Truth to tell, I think that if we got 100% of the multitude of issues addressed it would be a disappointment. Half of the fun is the pondering of the questions. CantinaDan says: February 1, 2010 at 12:42 pm Thanks for this blog, Glenn. I’m a fan of the show but have a hard time retaining a lot of details. Your list of questions really helped to get my brain prepared for this season. Glenn says: February 1, 2010 at 7:58 pm You’re welcome, Dan. There has been so much “stuff” generated by LOST that, even with a scorecard, it’s hard to keep track of all the players. Darrell says: February 3, 2010 at 6:45 am My bet on Adam and Eve? Rose and Bernard. One of the staples of time travel in the comicbooks world is that messing with the past doesn’t change the future, it simply creates a divergent time line, an alternate reality. I think that the corpses are Rose and Bernard, who may have not traveled back from the past with the rest of the gang when Juliet detonated Jughead. Although it wouldn’t explain why they didn’t … I kind of hope not because I love those two, but it would make some sense, especially in light of the white stones/black stones thing … I do think, though, that they need to address the Walt questions first and foremost. So much of his story drove parts of Seasons 1 and 2 that it would be a shame to let it just sit there unanswered. Howard the Duck says: February 9, 2010 at 11:40 am Is it too late to ask a question of my own? Okay, it seemed to me that when Sawyer, Jack, Kate and all the other time-displaced characters ‘woke up’ after Juliet’s detonating the bomb, that the hatch site looked like it had never been built in the first place. Am I seeing things? 1) How can ANYTHING that happened after the detonation in 1977 have taken place? There would be a gigantic blast crater, not to mention nuclear fallout and the lack of vegetation or any other signs of human presences. 2) Never mind the fact that Oceanic 816 seemingly never crashed on the island, why would the island be sunken beneath the water? Intact, I might add. A big-ass bomb would destroy, not sink the island, right? 3) Well, for the whole Jacob being killed by Fake Locke/Smoke Monster reality to still be going on, that would mean that anything that is happening in ‘the present’ springs from a past that has the hatch being built, and later on, Desmond pushing the button until he fails to do so(causing the crash of 816) And that same past’s future has Locke preventing the button from being pushed, thereby destroying the hatch. So, the hatch site in the present(with Juliet being rescued then dying in Sawyer’s arms and all the temple stuff) MUST be the hatch AFTER it was destroyed due to Locke’s interference. Right? Grrr…:) Glenn2000 says: February 10, 2010 at 11:17 am Howard, First of all, with LOST it’s never too late to ask a question. Hell, the show always produces more questions than answers! Actually, the hole in the ground where Juliette was burried was the remains of the Swan Hatch. The hole was the result of Desmond turning the fail-safe key that caused the sky to turn purple/white and blow off all of his clothes. Apparently what happened was when the bomb went off it interacted with the energy source that Dharma folks had tapped into and caused as time/space rift. The Oceaniac 815 survivors and their pals were all returned to the “present” time (the time where John Locke killed Jacob and Sun is looking for Jin and John Locke is now the dark man). Based upon real science you’re probably right about what would happen if a hydrogen bomb went off. Just look at Bikini Island. But, for better or worse, we’re not talking real science here on LOST. It’s like comic books and Bugs Bunny cartoons; real science takes a back seat to pseudo science. Not being a co-worker of the guys on Big Bang Theory, I really don’t know what would happen if you could find such an energy pocket and then set off a nuclear bomb on it. But the writers of the show believe it allows for time travel with few ill effects. Apparently what also happened, and was evidently not in Daniel Faraday’s notebook, was the possibility that the event would not only return the Survivors to the “present,” but fractured time/space and created an alternative timeline where Oceaniac 815 didn’t crash and that is what we’re watching as part of the storyline for the final season. How they plan to merge the two timelines I have no idea yet. But that’s half the fun of LOST. Yea, the Island was underwater and looked pretty much in tact, but again we’re dealing with LOST science not real science. Afterall, when the first Hydrogen bomb went off on Bikini Island it didn’t sink into the Pacific. You’re last comment may be a vital clue that has not yet surfaced (no pun intended) in the show. There may be more than the two timelines we’ve seen so far in the program this season. It would be reasonable to think so. How could Desmond be on the flight unless the Island sank in 1977? Is there another timeline that fractured off in 1977 that had an impact on everyone on the plane that we still have not seen because we’re only viewing them in the “current” timeline? I don’t have any real ideas yet that I can share. LOST always gives you more questions than answers. ARCHIVES August 2016 [113] July 2016 [129] June 2016 [200] May 2016 [171] April 2016 [188] March 2016 [195] February 2016 [128] January 2016 [137] December 2015 [127] November 2015 [135] October 2015 [162] September 2015 [180] August 2015 [178] View complete archive... SPONSORS TAG CLOUD1/6th scale BigBadToyStore.com DCUC Masters of the Universe Classics Mattycollector.com MOTUC San Diego Comic Con International Follow Us on Facebook Copyright All text and commentary are the opinions of the authors solely, and not to be attributed to any other parties. All images, format, content, and design are copyright © 1999-2016 Daniel ”Julius Marx” Pickett and Jason "ToyOtter" Geyer unless otherwise noted. No part of these pages may be reproduced without express written consent of D. Pickett or J. Geyer. Licensed character names and images are copyright © their respective companies. But hey, ask us; you just never know what we'll say. Web Design by Jason Geyer & Danny Neuman Web programming and development by Peter Go

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Entertainment Movies Production Design: All aboard 'Hugo's' 1930s train station set 'Hugo' Jaap Buitendjik / Paramount Pictures Ben Kingsley is Georges Melies in the movie "Hugo." Ben Kingsley is Georges Melies in the movie "Hugo." (Jaap Buitendjik / Paramount Pictures) Emily Rome, Los Angeles Times Surely, any author's dream is to be able to walk into the world they've created in their book. Plenty of writers have been afforded virtually that experience as their books have been adapted to film, but perhaps no one has realized this dream so intensely as Brian Selznick when he visited the set for the Nov. 23 release "Hugo," based on his 2007 book "The Invention of Hugo Cabret."The film — director Martin Scorsese's first geared toward a young audience — was shot on a full-scale train station set built from scratch, directly inspired by Selznick's illustrations. "It was really as if my drawings had come to life around me, except everything was bigger and more beautiful than I even could have imagined," said Selznick, who was particularly struck by the production, having done theater set design at Brown University in Providence, R.I.The Oscar winners behind the massive set, built at London's Shepperton Studios, are production designer Dante Ferretti and set decorator Francesca Lo Schiavo, who have each worked on several of Scorsese's films. The Italian husband-wife duo constantly turned to the source material to create the look of the 1930s-era adventure about an orphan who lives in a train station. "The book looks like a storyboard, [which] helped me a lot," Ferretti said.Selznick's book, which sees the boy get caught up in a mystery involving his late father, was the first novel awarded the Caldecott Medal for illustrations. Less a novel and more a combined experience of reading a novel, a picture book, a graphic novel and watching a movie, the book contains 284 pages of drawings that tell the story as much as the 200 or so pages of text.In addition to the novel, Ferretti and Lo Schiavo found inspiration in the same place Selznick did: the history of pioneering filmmaker Georges Méliès. The turn-of-the-last-century inventor is incarnated in the book as well as the film adaptation as Papa Georges (Ben Kingsley), the owner of a toy shop in the station modeled after photos of the real toy booth Méliès operated."Martin was so passionate about this story because it was about film.... He makes the story of Georges Méliès alive," Lo Schiavo said.To create a historically accurate look, Lo Schiavo painted several period toys to make them look new but also made hundreds of toys from scratch — teddy bears, dolls, horns, balls, model ships, miniature carousels and more, plus the wind-up automaton central to the story.The toy booth was one of many shops that were part of the extensive train terminal set — the lobby alone took two stages to build. Scorsese gave Ferretti and Lo Schiavo several historical documentaries and early French films for their body of research about 1930s train stations.Though Ferretti was obligated to stay true to history, he said he felt a lot of freedom in the creative process."I said, 'OK, I'm an architect living in the 1900s,'" Ferretti recalled. "Why make a copy of what has been made? I put myself in there and invented something."emily.rome@latimes.com Hugo (movie) 2011 Holiday Movie Sneaks Cheat Sheet: Holiday Movies 2011 On the Set: Robert Downey Jr., Jude Law talk 'Sherlock Holmes'

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Leaving Baker Street What Basil Rathbone Walked Away From by Andy Demsky A piece of take-this-job-and-shove-it lore that has long fascinated fans of Hollywood�s belle epoch is the story of Basil Rathbone walking away from his lucrative role as Sherlock Holmes. Easily screenland�s most famous Baker Street sleuth, the classically-trained actor grew weary and embittered playing the part that made him famous from Borneo to the Santa Monica Pier. He came to deeply regret signing a long-term contract that kept him playing the role in film after film. And in spite of what must have been great pressures to the contrary, he turned his back on not only the Holmes series but arguably on his film career as well. He moved from his Bellagio Road home in Bel-Air in June of 1946 to New York in a return to the stage. The following year he starred in �The Heiress� on Broadway, where he was a critical success. His motion picture work though dropped off sharply and immediately. When �The Heiress� was turned into a film in 1949 the part he�d played on stage went to Ralph Richardson. Where once Rathbone had landed a leading or supporting role in as many as five or six features a year from the silent era through the war years, after 1946, he only turned in a film every couple of years. His career eventually moved from Broadway to slap-dash television parts and to cinematic plonk like �Ghost in the Invisible Bikini.� As early as 1958 he complained in a letter to actor David Macklin of having not much on the horizon. His last film, in 1967, was a Mexican horror cheapie called �Autopsy of a Ghost,� which is almost impossible to find today. He died of a heart attack in July of that year. Rathbone�s 1962 autobiography, �In and Out of Character,� is significantly quiet on his Sherlock Holmes career, which he covers in a chapter of 11 tight-lipped pages. What he does say about his decision to quit, he puts succinctly: �I was deeply concerned with the problem of being �typed,� more completely �typed� than any other classic actor has been or ever will be again. My fifty-two roles in twenty-three plays of Shakespeare, my years in the London and New York theater, my score of motion pictures, including my two academy award nominations, were slowly but surely sinking into oblivion ...� He mentions that at the time of his departure, MCA, the agency which represented him, was drawing up a contract to keep Rathbone and Nigel Bruce on the radio series for another seven years. Meanwhile, Universal owned the rights to the Holmes character for another three years. But Rathbone was finished; his contract was up. He�d grown tired of handing in, as he called them, �carbon copies� of his Holmes interpretation. In his excellent book, �Basil Rathbone: His Life and His Films,� Michael Druxman reports a story told by Rathbone�s wife, Ouida, that captures the actor�s frustration with the Holmes role. A group of children was following the actor on the street one day, calling out for an autograph � calling out the name �Sherlock Holmes.� Rathbone whirled around and demanded that they say his real name. �Sherlock Holmes,� came the reply. He refused to give them an autograph until they could produce his real name � which they could not do. A look at Rathbone�s filmography tells its own story. In 1939 when he made �The Hound of the Baskervilles� and �The Adventures of Sherlock Holmes� for Fox, Rathbone was also featured in four other films �these include a delightfully mordant turn as Richard III in �Tower of London� and the Baron in the wonderfully arch �Son of Frankenstein.� In 1941 he made four films, none of them Holmesian. In 1942, a new pattern begins to emerge; he made �Sherlock Holmes and the Voice of Terror,� �Sherlock Holmes and the Secret Weapon,� and just two other non-Holmes films. Each year the trend continued. By 1945 he made just three pictures � all Holmes. And in 1946 there were two Holmes films and one dreary comedy, a Ginger Rogers vehicle called �Heartbeat.� It doesn�t take stellar deduction to conclude that the parts were no longer rolling in. The Holmes series is comprised of 16 films; each is about an hour in length. The first two were filmed at Fox. The remainder were produced at Universal. According to Universal archives, each film only required about an 18-day shoot and for that service, Basil Rathbone received a flat fee of $20,000. In 1946, that was serious money. A can of pork and beans cost nine cents in Los Angeles at the time. A nightclub dinner ran $1.75 and rent on a three-bedroom house in a good neighborhood was in the area of $300 a month. More to the point, day players on the Holmes films got $250 a week, a script clerk $160, and a cameraman received $350. A talent such as Henry Danielle got $4,500 for his memorable Professor Moriarty in �The Woman in Green.� Accounting for inflation, Rathbone�s $20,000 equals about $180,000 in current monetary value. Universal was filming three Holmes films a year on average. So in today�s market, Rathbone was making more than $500,000 a year for about 54 working days. David Niven called Basil Rathbone the highest paid freelancer of the era. When factoring in the Holmes radio work � he and Nigel Bruce did more than 200 weekly shows� Rathbone�s yearly Holmes income probably approached $800,000 or so (still dealing in today�s dollar). Factor in his other film, radio and advertising work and he may have closed in on $1 million. From this he walked. His decision was a sharp blow to his friendship with Nigel Bruce. And it�s no wonder when you look at the numbers. Bruce was under contract to Universal (Rathbone was on loan from MGM throughout the series). As Dr. Watson, Bruce started the series making $5,000 per picture. By 1946 his salary had tripled, up to $15,000 per film. Rathbone writes about the fall-out with his co-star, ��for a while my long-time friendship with Nigel Bruce suffered severe and recurring shocks.� Bruce made only eight more generally forgettable films between the end of the Holmes series and his death in October 1953. While Rathbone confines his reasons for leaving to his boredom and bitterness with the role, he may have recognized other reasons the series as a whole had outlasted its natural life. Many who love the Holmes movies certainly see a dampening of vitality in the later pictures. �Dressed to Kill,� while it has a terrific title, fails in many ways to capture the qualities of earlier productions. After more than a dozen stints as director-producer, Roy William Neil had gathered around him a group of writers, actors and technicians who by all accounts were a happy family. The director was known affectionately as �Mousie� by his crew and players. The studio was certainly happy with receipts. Each film was budgeted at an affordable $220,000 to $240,000, they came in on time and without significant cost overruns. And they made money. But guaranteed income and contentment are rarely a formula for excellent filmmaking. A winding-down is evident in more than just aesthetics. For one thing, the friction with the censors at Hays Office had slacked off, a possible sign of loss of �juice� on the part of the writers. The censors practically rubber stamped the scripts of the films of 1946. Small adjustments were called for here and there. Films earlier in the series, however, were not received so gladly by the censors. In 1944, for example, an early script of the film �Invitation to Death� (released as �The Woman in Green�) was declared �in violation of the code.� The letter to Universal, signed by Joseph Breen, suggests the script had a certain grisly vitality. The letter reads: �The basic objection to the present story is the fact that little eight and nine-year old girls are murdered and their bodies are mutilated by the severance of a finger �� The Hays office believed such a film would �lower the moral sensibilities of persons witnessing such a performance.� The letter goes on at length to spell out problems with improper language, drug references and violence. All of these indicate, at least to the modern mind, suggest a challenging creative vigor in the earlier films that had fallen away later. Even 1943�s, �Sherlock Holmes in Washington,� shows some energy in its production, with William Neil choosing to shoot scenes in Washington D.C. at the height of the war rather than rely on stock footage. The director had to work his way through numerous layers of studio and War Department authority, butting up against the redoubtable Office of Censorship, to get permission to film shots of National Airport and other scenes of the nation�s Capitol that were key to the success of the picture. Inertia is perhaps also evident in the decelerating pace of filming itself. According to the assistant director�s daily reports, �Terror by Night� in 1946 averaged 8.5 scenes shot per day; �Dressed to Kill� later that same year averaged just 6.2. Compare that with �Woman in Green� just a year earlier. That film averaged 11.5 scenes shot per day while �House of Fear,� also shot in 1945, averaged nearly 14. While speed of filmmaking in not necessarily a measure of quality � Ed Wood�s �Plan 9 From Outer Space� comes to mind �it may hint at a general relaxation that was falling over the company. Did Rathbone regret his decision to leave? Not at first. When he finally and convincingly announced he would not return to the series he writes of his state of mind, �Supremely confident and relaxed, sipping a gin and tonic, I lounged in a comfortable chair in my room at the Ritz Hotel ...� Eventually, he must have missed something about the role, perhaps the income. In 1953 he reprised the role of Holmes on stage in a play written by his wife. In this way, one can imagine, he might have thought to cash in on the Holmes recognizability within the context of the theater, which he felt more suited his abilities. But the play bombed. In �In and Out of Character� he writes that the dress rehearsal was a disaster and in the first scene of the first performance he �blew up� and never quite recovered, turning in a dreary, mechanical performance. One review mentions missed lighting cues and other glitches. Rathbone continued to don the deerstalker from time to time in TV appearances such as the Milton Berle show. One wonders if it was really thinkable to walk away from the role of the Baker Street detective unscathed careerwise. After 16 films? After 200 weekly radio shows? After numerous print ads for cigarettes and other products posing as Holmes? The urge to separate himself from the role is understandable, but at some moment in that 1939 to 1946 timeline there was a point of no return. That he did leave was courageous and probably prompted by impulses of a reasonably pure artistic nature. But Rathbone�s story is not so much of an actor who walked away from a bank vault of money, but of an actor who walked away too late. In a letter to Newsweek magazine in June 1956 Rathbone wrote that Hollywood had started him off in light comedy, then condemned him to villain roles and had �buried� him as Holmes. He wrote: �I have enjoyed a very versatile career, with only Sherlock Holmes as a seemingly perpetual stumbling block. How deeply I sympathize with Sir Arthur Conan Doyle who tried so hard to kill Holmes at the Reichenbach Falls!� While this sounds like the hollow cry of victim-think, it is probably the case that there was little he could do throughout most of the �40s to rescue himself from typecasting. Once he signed the contract and embarked on the films, his image as Sherlock Holmes was forever fixed in the public imagination. Phrases like �Elementary, my dear Watson,� and �Quick Watson, the needle,� entered the general lexicon. Thanks to the power of mass media Rathbone became an actor who lost ownership of his own face, voice and persona. He became a brand. Like Lugosi with Dracula, Karloff with Frankenstein and actors such as Marilyn Monroe, Groucho Marx, John Wayne and others who exist in the popular consciousness not so much as humans but as ideas, images. This transformative power of media must not have been lost on Rathbone when he signed the contract he came to detest. What he had hoped to walk away from, ultimately, was this transformation. He hoped to reverse it, erase it. Yet the icon status would remain attached to Rathbone like his own shadow in a glare of stagelights. Basil's Stars Ferncliff "Daydream" Unusual Memorabilia Basil's on Love Bow-wows Homes and Haunts Ode to Basil What If . . . ? Top of Site MapAll original content is � Marcia Jessen, 2013

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Chris Brown Quotes My personal life is the same. At the end of the day, this is just a job. I love what I do, and it's a great job. But it's like my alter ego. There's Chris Brown the singer. And there's Christopher Brown, the down-home Tappahannock boy that plays video games and basketball and hangs out. I love sneakers on a girl. I don't know why, but I guess it's because I'm still a young. I really like just like a girl who has style - a girl who does her own thing, is unique in what she's wearing and works what she's got. Haters keep on hating, cause somebody's gotta do it. Haters, My mother taught me to treat a lady respectfully. Girls are losing their virginity at 15, 16. I'm not promoting that. But my songs are talking... about me becoming a man. Since I'm always working, my best holiday memories are definitely when I can just go home and spend time with my family. I'm 18 in this album. I'm not losing fans, and I'm not disrepecting women, but you reach the maturity of taking it to the next level with a girl. It was only necessary for me to have at least one song like that. I didn't understand that I could sing until I was like 11 or 12. My mom heard me singing around the house and she said, What are you doing? You really can sing! So then I started going to school and singing to the girls. Follow your dreams. Just make sure to have fun too. With fame, you can't trust everybody. You can't depend on them being there for you as a person. They will only be there because of what you've got you as a person. They will only be there because of what you've got and what you can bring to their life. It's not a relationship-it's a leech. I always imagined I could be what I wanted to be. Having the right people around you all the time is important. I do take the acting seriously. But this is all fun. I look at it like smoke and mirrors. I still think it's a dream, but I ain't pinching myself yet. When I was 12, all I wanted for Christmas was a trampoline or a four-wheeler. I ended up getting both presents for Christmas. Whether it be personal or musical, I just think I'm a walking art piece, just a ball of creativity. I think I can beat Usher on the dance floor. I would say I'm an inspirational guidelines book. You can take my life story or scenarios or songs and relate to them and apply them to your everyday life. I think the key is basically just your determination. As far an artist is concerned, it's just about your drive and your dream. I'm not gonna say that I hate it, because I really respect Usher and I was influenced by him. But so many people compare me to him, and I don't think it'll ever stop. I just want to be my own artist. I like low-maintenance girls, but at the same time, classy. She needs to take care of herself. But also be a girl who isn't afraid to get sweaty and play basketball, so it's cool if she's a tomboy. Loving is doing anything for them, thinking about them constantly and being able to spend your whole life with that person. Liking somebody is just like, 'Okay, I like them because of this, this and this, but I don't knkow if I am ready to be in love with them'. I used to feel so shy speaking to girls. It was even worse when they were around their crew because they would diss me. Shy, Worse, I love attention. If I see a gang of girls? That makes me dance even more! I drew a lot of inspiration from the Ginuwines, the Ushers, the Michael Jacksons, the James Browns, Sam Cooke. With dates I like to cater a girl. We do whatever she likes. If she was open to what I wanted to do, it probably wouldn't be a dull date, because I am a jock. I started when I was about 11, singing. My first album was me finding myself and my voice, finding how I sing. I was rolling with the punches because everything was new to me. Finding,

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Clint Eastwood Quotes - Page 4 You can't stop everything from happening. But we've gotten to a point where we're certainly trying. If a car doesn't have four hundred air bags in it, then it's no good. I'm a mentor to anybody who's interested. Anybody, I'm a movie maker, but I have the same feelings as the average guy out there. Average, Politicians love regulating. That's part of the whole power structure. There's a lot of great movies that have won the Academy Award, and a lot of great movies that haven't. You just do the best you can. Aging can be fun if you lay back and enjoy it. My whole life has been one big improvisation. On 'Mystic River,' I had to cut my salary and everyone else's to get it made. My uncle played rugby, and my dad played football, and they used to argue which game was the roughest - and everybody agreed rugby was. It's a great team sport, and to be successful, every person has to play in the same level. Every movie I make teaches me something. That's why I keep making them. Teaches I guess maybe when you get past 70, other people start asking you how you feel. I want the troops from Great Britain and the U.S. to be successful, but by the same token, Afghanistan has always been a screw-up. Successful, If you think it's going to rain, it will. It would be great to be 105 and still making films. Man becomes his most creative during war. Nobody looks like they did when they were 20, so why not take advantage of the fact that you're changing, emotionally as well as physically? We are like boxers, one never knows how much longer one has. Longer, Boxers, I'm not really conservative. I'm conservative on certain things. I believe in less government. I believe in fiscal responsibility and all those things that maybe Republicans used to believe in but don't any more. I've had moments when I've thought about somebody, picked up the phone to call them and they are on the line already, and I think that maybe there's some vibration, some connection. I've never met a genius. A genius to me is someone who does well at something he hates. Anybody can do well at something he loves - it's just a question of finding the subject. Genius, Plagiarism is always the biggest thing in Hollywood. When I see a story, I ask: is this something I'd like to be in? Is this something I'd like to see? And if I'd like to see it, would I like to tell it? You hear about actors being late and all that sort of stuff, but you never find that with an actor who's directed, because an actor who's directed understands all the problems your production is going through. Late, I had three points I wanted to make: That not everybody in Hollywood is on the left, that Obama has broken a lot of the promises he made when he took office, and that the people should feel free to get rid of any politician who's not doing a good job. But I didn't make up my mind exactly what I was going to say until I said it. Liberals are not always so liberal with people who disapprove - disapprove of their point of view. When I was growing up, I wasn't an extrovert. If anything, I was an introverted kid and a very average pupil at school. I was very quiet. Quotes about Clint Eastwood Carroll O'Connor

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Halt & Catch Fire Trailer Teases 80s, Computers And Major Drama Those watching the Season 4 finale of The Walking Dead last night likely caught the new trailer for AMC's upcoming scripted drama Halt & Catch Fire, which is among the latest period dramas to air on the network, joining Mad Men and newcomer Turn in that regard. Set in the 1980s, Halt & Catch Fire stars Lee Pace and is a dramatization of the personal computing boom. Created by Chris Cantwell and Chris Rogers, Halt & Catch Fire is a fictional drama that's said to capture the rise of the PC era in the early 1980s and will center on an unlikely trio -- a visionary, an engineer and a prodigy -- as they take serious personal and professional risks during the race to build a world-changing computer. The cast includes Lee Pace, Scoot McNairy, Mackenzie Davis, Kerry Bishe and Toby Huss. The trailer takes a fun but intense approach, setting the time period nicely with the 1983 Eurythmics tune "Sweet Dreams (Are Made of This)" and showing the lead characters apparently putting their futures on the line in their efforts to succeed in computer advancements during a crucial time in the science's history. It's an AMC trailer, so we would've been surprised if it spelled out the plot for us in some detail but in terms of setting the mood, teasing the cast and sparking an appetite for what could be a really great series, it gets the job done. And AMC was kind enough to pass along the following synopsis for Halt & Catch Fire, which premieres Sunday, June 1 at 10:00 p.m. ET/PT: From AMC Studios, “Halt and Catch Fire” captures the rise of the PC era in the early 1980s, during which a renegade trio — a visionary, an engineer and a prodigy — risk it all to realize their vision of building a computer that could change the future. The series charts the changing culture of Texas’ Silicon Prairie while tensions build within the group as they attempt to navigate the thin line between visionary and fraud and genius and delusion, and as their drive to do something that matters runs up against their ability to truly innovate. The 10-episode series is created by Christopher Cantwell and Christopher C. Rogers and executive produced by showrunner Jonathan Lisco (“Southland”), Gran Via Productions’ Mark Johnson (“Breaking Bad,” “Rectify,” Diner, Rain Man) and Melissa Bernstein (“Breaking Bad,” “Rectify”). “Halt and Catch Fire” is set roughly one year after IBM all but corners the market with the release of its first major product — the IBM PC. It is also the same year people realize that the IBM PC has a fatal flaw, which quickly makes personal computing anyone’s game. In this fictional drama, a former IBM executive, Joe MacMillan (Lee Pace), plans to reverse-engineer the flagship product of his former employer, and he forces his current company, Cardiff Electric, into the personal computer race. MacMillan enlists the help of Gordon Clark (Scoot McNairy), a once-great engineer who dreams of creating a revolutionary product while trying to manage his initially unsupportive wife, Donna (Kerry Bishé), and Cameron Howe (Mackenzie Davis), a volatile prodigy who puts her future in jeopardy to join MacMillan’s rogue PC project. “Halt and Catch Fire” thrives on the spirit of innovation and explores what it’s like to stand at the forefront of something truly great and world-changing and work toward it, no matter the risk. We Now Know Who One Of The Walking Dead's New Mystery Characters Is Walking Dead: Michael Cudlitz's Brutally Honest Opinion On Spoilers Why Norman Reedus Ran Around The Walking Dead Set Naked Shaun Of The Dead's Nick Frost Is Coming To U.S. TV In A Big Way

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by: Michael Dequina A faceless narrator ruminates on the nature of chance and fate by telling of three different inexplicable occurrences through time. The most interesting anecdote is one where a young man's attempt at a suicidal fall is botched mid-plunge--when he ends up the victim of a murder to which he was an accessory. The convoluted mechanics of this strange--make that freak--occurrence are analyzed in exhaustive detail, complete with a visual breakdown by telestrator. It's not exactly the most obvious way to open any film about the anguished lives of a cross-section of people in Los Angeles' San Fernando Valley, but in terms of Paul Thomas Anderson's Magnolia, it is the perfect curtain- and eyebrow-raiser for three hours of the director's astonishingly powerful and audacious vision. Anderson follows that bold prologue with an introductory sequence that can only be described as being cinematically alive. As a TV blares the ridiculously macho propaganda of male self-help guru Frank T.J. Mackey (Tom Cruise), one by one we're introduced to the characters, storylines, and relationships that intertwine over one eventful 24-hour period detailed in the film. Cancer-stricken television producer Earl Partridge (Jason Robards) is on his deathbed, being tended to by his nurse, Phil Parma (Philip Seymour Hoffman), as his much younger trophy wife, Linda (Julianne Moore) searches in vain for a way to cope. Elsewhere in the Valley is another terminal cancer victim, Jimmy Gator (Philip Baker Hall), who hasn't yet let his estranged, drug-addicted daughter Claudia (Melora Walters) know about his condition. In the meantime, he continues his long-running hosting duties on the popular kids-versus-adults quiz show What Do Kids Know?, whose current champion is child genius Stanley Spector (Jeremy Blackman). Serving as a counterpoint to Stanley's progression is the downward slide of Donnie Smith (William H. Macy), a former champion of the same show back in the '60s. Patrolling the Valley streets while talking to an invisible partner is Officer Jim Kurring (John C. Reilly). This highly kinetic sequence, fueled by energized editing and camera work, is ultimately held together by the song that plays in the background, a tune that succinctly sums up the main feeling of the characters and the film itself: Aimee Mann's cover of "One"--as in, "one is the loneliest number." Isolation is the primary theme of Magnolia, and the overwhelming pain that comes with the state its primary mood; as the characters each seek out connection and comfort, Anderson masterfully uses music to express that which is neither seen nor spoken. For a non-musical film, Magnolia is highly dependent on the music; there is nary a moment where either a song (usually by Mann, contributed seven to the film) or Jon Brion's instrumental score is playing in the background. Sometimes Anderson even has score and songs playing concurrently, and a number of times the music takes the foreground and the dialogue recedes into the background (most notably in the film's final scenes); both are bold moves, and they prove to be highly effective in showing the urgency of emotion that burns beneath the surface. But no example of Anderson's use of music is as ingenius as in one bound-to-be-discussed scene that occurs about two-thirds into the film. As all the characters appear to be at their lowest, most uncertain point, the action completely stops and each person, regardless of where they are, sings along to Mann's somber "Wise Up." The tune is not playing on anyone's stereo as source music; it simply plays on the film's soundtrack, and everyone relates their pain through the song, whose chorus goes, "It's not going to stop 'til you wise up." The idea sounds ridiculous and almost overly cutesy on paper, but the scene sends chills while watching it unfold onscreen. When the signature line is sung for the final time, with the altered lyric "It's not goin CinemaReview.com � 2016 Cinema Review, All Rights Reserved.

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> Ian McKellen > Ian Mckellen Annoyed By Potter Confusion Ian Mckellen Annoyed By Potter ConfusionBy Bang Showbiz on 25 May 2010 Follow Ian McKellen Ian McKellen Andy Serkis Guillermo Del Toro Harry Potter Michael Gambon Peter Jackson Sir Ian McKellen gets irritated when people confuse his 'Lord of the Rings' character Gandalf with 'Harry Potter' teacher Dumbledore. Picture: Sir Ian McKellen gets frustrated when people think he is Dumbledore from 'Harry Potter'. The 71-year-old actor confesses he is a fan of his character in 'Lord of the Rings', white bearded Gandalf, but he gets annoyed when people mistake him for Dumbledore from the 'Harry Potter' movie series. He said: "I'm a huge fan of Gandalf myself. For me this gentle, friendly and courageous wizard is a real role model. I don't mind if people associate me with this film character. I only get mad if someone mistakes me for Michael Gambon, the actor from the 'Harry Potter' films who plays Dumbledore."When that happens I say 'No! I played the original by J.R.R. Tolkien, not the knockoff by Joanne K. Rowling!' "Ian also admits he will definitely play a part in the upcoming 'Hobbit' movie, with assurances coming from new director Guillermo Del Toro.He told German newspaper Frankfurter Allgemeine Zeitung: "Instead of Peter Jackson, Guillermo del Toro is going to direct the film and it would be understandable if he changed the cast to realise his own vision of it. But he has already assured me I would be in the film."Recently fellow 'Hobbit' star Andy Serkis confirmed work on the movie had been postponed until later this year. Contactmusic Sir Ian McKellen 'Turned Down £1 Million' To Officiate Wedding Dressed As Gandalf Sir Ian McKellen turned down £1m offer to officiate wedding as Gandalf Ian Mckellen: 'I Turned Down $1.5 Million To Officiate At Wedding As Gandalf' Ian Mckellen Opens Lgbt Bollywood Festival Ian Mckellen's Not A Tv Fan Sir Ian Mckellen Returns Advance For Painful Memoir Ian Mckellen And Patrick Stewart Staging British Reunion Ian Mckellen Congratulates Sam Smith On Oscar Win From Ian McKellen To Ellen Page: 15 Gay Actors Who Usually Have Straight Roles Sir Ian Mckellen Hosting Richard Iii Inspired Bus Tours Sir Ian McKellen To Become A London Bus Tour Guide Ian Mckellen: 'Gay Actors Are Shunned At Oscars Too' Ian Mckellen Caught Recycling Christmas Gifts Beauty And The Beast - Teaser Trailer Disney have released the new teaser trailer for the remake of the much-loved animated film... Mr. Holmes Movie Review Despite this being a film about Sherlock Holmes, the fact that it's not much of... Mr Holmes - Teaser Trailer The year is 1947. Sherlock Holmes (Ian McKellen) is 93 years old and living in... Mr Holmes Trailer Time makes a fool of all of us; even the greatest minds will become blunt... The Hobbit: The Battle of the Five Armies Movie Review Peter Jackson's expanded take on J.R.R. Tolkien's The Hobbit comes to a conclusion in a... The Hobbit: The Battle Of The Five Armies Trailer The Lonely Mountain has been reclaimed from the dragon Smaug. The dwarves of Thorin Oakenshield... The Hobbit: The Battle Of The Five Armies Trailer X-men: Days of Future Past Movie Review Continuing to be the most original and resonant of the Marvel superhero franchises, the X-men... X-Men: Days of Future Past Trailer The world is verging on an apocalyptic disaster as the mutants continue to engage in... X-Men: Days Of Future Past Trailer The mutants of the world are quickly dwindling in their numbers, tearing each other apart... The Hobbit: The Desolation of Smaug Movie Review

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Eddie Carroll dies at 76; voice of Jiminy Cricket and Jack Benny impersonator Talented impersonator Eddie Carroll, who voiced Jiminy Cricket for Disney, poses with a statue of comic Jack Benny. Eddie Carroll, who voiced Jiminy Cricket for Disney, poses with a statue of comic Jack Benny. Valerie J. Nelson Eddie Carroll, an actor who for decades gave voice to Jiminy Cricket in Disney projects and impersonated Jack Benny in a noted one-man stage show, has died. He was 76.Carroll died Tuesday from a brain tumor at the Motion Picture and Television Fund Hospital in Woodland Hills, said his wife, Carolyn. FOR THE RECORD: Eddie Carroll obituary: In Sunday's California section, the obituary of Eddie Carroll, an actor who voiced Jiminy Cricket and impersonated Jack Benny, said that his daughter's name was Tia Monti. Her name is Tina Monti. — "He was so proud to do both roles," his wife said. "He just admired the whole fantasy of Jiminy Cricket, and he loved the man . . . who was Jack Benny."In 1973, Carroll became the second actor to voice the cricket, who was the title character's conscience in the 1940 animated film "Pinocchio."Before auditioning, Carroll studied Jiminy's signature song, "When You Wish Upon a Star," sung by Cliff Edwards. The Canadian-born Carroll realized that he needed to adopt a Midwestern accent.His agent did "back flips" when Carroll got the part, he told the Dayton (Ohio) Daily News in 2008. "He knew the role was a cottage industry," Carroll said. " . . . There's something practically every month -- a singalong film, computer game, recording as spokesman for Disney on Ice, a show at Disneyland or Disney World."No one else has voiced a Disney character for as long as Carroll did, said Rick Dempsey, senior vice president of Disney's Character Voices division."He totally was Jiminy Cricket," Dempsey said. "He really took what the character was into his own heart and in a sense lived that in his own life. He also was one of the best Jack Benny impersonators on the planet."When a crew member on a 1982 film set ruined a scene by dropping a prop, Carroll broke the tension by bursting out with a trademark Benny line, "Oh, for heaven's sake, Rochester!," and "everybody laughed," Carroll later recalled.It led to him being cast in the one-man show, "A Small Eternity With Jack Benny," which opened in 1983 in Santa Monica.After touring in that show for a year, he wrote a tribute, "Jack Benny: Laughter in Bloom," and continued appearing as the comedian, who died in 1974, until late last year. He often toured six months a year.Los Angeles magazine's reaction to the show in the 1990s was typical: "Before our eyes, he truly becomes the legendary comedian."Laura Leff, president of the International Jack Benny Fan Club, told The Times: "Jack's humor is based so much around character, and Eddie was able to recreate that in a very authentic way. It was the next best thing to having Jack himself there."Eddie Eleniak was born Sept. 5, 1933, in Edmonton, Canada, and acted in high school alongside another student, Robert Goulet.A bout with polio was not far behind him when Carroll came to Los Angeles in the mid-1950s with Goulet as part of an NBC talent program.Soon after moving to the U.S., Carroll served in the Army. For two years, he wrote and produced shows for Armed Forces Radio and Television.When his mother suggested he needed a simpler last name, he adopted "Carroll" for a favorite aunt.In an acting class after the war, he met Jamie Farr, who would appear in the TV series "MASH." They formed a production company in the 1960s that developed a number of projects for networks and studios."We were like brothers, and we still are," Carroll said in 2005 in the Toledo (Ohio) Blade.Carroll had appeared in more than 200 commercials, according to his website, and was a regular on the early 1970s variety program "The Don Knotts Show."To portray Benny, Carroll taught himself to play violin and joked with a Times reporter in 1999: "Thank goodness Benny wasn't a great violinist or I'd be in trouble."After walking onstage as Benny, he would put the violin down and drolly say, "Don't look so relieved; I play it later."Actress Erika Eleniak of TV's "Baywatch" is his niece.For almost 37 years, he lived in Encino with his wife, whom he married in 1963.He is also survived by his children, Tia Monti and Leland Carroll; and two brothers, Bob Elen and Dale Eleniak, all of Los Angeles.valerie.nelson@latimes.com

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Back to Show is the artistic director of Dallas Theater Center, where his work as a director includes: It's a Bird ... It's a Plane ... It's Superman; The Who's Tommy; The Wiz; A Midsummer Night’s Dream; Henry IV; The Tempest; Fat Pig; Next Fall; his original adaptation of A Christmas Carol; Oedipus el Rey; Sherlock Holmes: The Final Adventure; Medea; The School for Wives, and, most recently, Colossal. Since 2007 he has led DTC through many new initiatives, including the move into the Wyly Theatre; the creation of the Brierley Resident Acting Company; an extensive series of new play productions; community collaborations with North Texas Food Bank, Dallas Holocaust Museum, Dallas Museum of Art, and most of the region's theater companies; and multi-year partnerships with Booker T. Washington High School for the Visual and Performing Arts and SMU Meadows School of the Arts. Before joining DTC, Kevin served as the artistic director of the Hangar Theatre in Ithaca, NY, for seven years. From 2002-2007 Kevin was the Head of Directing for the Brown University/Trinity Rep MFA Program in Providence, RI, and he was an Associate Artist at Trinity Rep Company. He made his operatic directing debut with The Lighthouse for The Dallas Opera in 2012, and is directing The Marriage of Figaro in their 2014-2015 season. Kevin has served as a public school music teacher at La Crescent High School in La Crescent, MN, and as an Associate Professor at Brown University. Kevin is the Vice-Chair of the Dallas Arts District; a member of the Boards of Trustees for the Booker T. Washington Advisory Board, Theatre Communications Group, and the National Alliance for Musical Theatre; a member of the Dallas Assembly; a recipient of a Drama League directing fellowship; and a graduate of the University of Wisconsin.

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Looking for movie tickets? Enter your location to see which movie theaters are playing The Cabin in the Woods near you. Holy Crap! I'm giddy after seeing this. By alacran79 ::stands up:: I'm ******** and I'm a jaded horror fan. Good, we got that out of the way. So, where to start...cuz I really f&*^ing loved this flick. I do not easily heap praise on horror films nowadays. They are mostly throwaway pieces of garbage with little to no redeeming qualities. But this film did it right. Granted, I wasn't scared in the slightest, but who cares when the film gives you such a a great world to imagine? On the surface, one would think this was the standard slasher movie, but you'd be completely mistaken. This movie deconstructs the stereotypical slasher flick, and then creates a world which gives nods to almost every horror genre out there. I mean, what horror flick recently has given nods to Barker, Lovecraft, and Japanese horror? None that I know of. To top it off, it's pretty funny (though I noticed some of the younger folk didn't catch some of the references), and there's no ####### ending. Color me happy, for once. Did you? Great Horror Movie! By tresal3 Written December 25, 2014 Finally something that isn't the same horror movie you see over and over and over and .... well you get it. It starts off the way you think it should, I mean nowadays the preview tells you the whole damn movie! But not this one.....It totally takes you to a place you didn't even think of. Great surprises, funny dialog, and a ending that you would have never seen coming! GO SEE IT! Did you? May look familiar...until you look closer. Besides, Thor's in it! By davidmello This was supposed to open more than two years ago, but was held up by MGM's finanical probelms, and a short-lived bid to convert it to 3-D. Still, The Cabin in the Woods is worth waiting for because it takes the typical horror movie and sends on a pretty weird ride. Of course, you've heard the same comments about you shouldn't learn too much about the movie, avoid spoilers and so forth. We will say it does include Chris Hemsworth way before he became a thunder god, and Fran Kranz as a stoner who turns out to be sharp at the right time. There's also Bradley Whitford and Richard Jenkins who have their roles in all this. It does involve cameras. We'll say that much. The movie was directed by Drew Goddard, who wrote Cloverfield, and written by him and Joss Whedon, well-known as the guy who gave us the greatest TV heroine in the past 20 years..and more than that. Check it out, guys! Did you? the Cabin in the woods By leopardtraxDJ This was so much fun to watch. I was afraid that by seeing the preview that there wouldn't be any thing left. Boy was I wrong. I took my daughter and her boyfriend with me and really enjoyed it. Oh, and the "stoner guy" was the best!! Did you? Cabin In The Twilight Zone I am going to recommnend this movie because it has an original story, if your expecting your regular horror/slasher flick with a group of college kids out in the middle of nowhere, then you are partially right, but the story itself is really twisted, I dont want to go into details and give this movie away, but its so much more then that, to me its more a combination of one of them horror movies, and a little bit of a reality tv type story mixed. The acting in this was par, it wasnt anything exceptional, but it also wasnt lame either. One of biggest problems with this movie was the ending, I believe they could have taken the meaning of the outcome of this movie, and went in a completely different direction with it, it was a little far fetched with the reasoning for why the actors had to go through what they did .... anyways, if your out for a whole new original idea for a story, and are into semi-scary movies, then go see this, its worth seeing, I'd give this 2 1/2 out of 4 stars. Will We See a Sequel to 'The Cabin in the Woods'? Here's a Hint When Sneaky Surveillance Turns Scary

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Print Close 'The Simpsons' in Danger in 23rd Year on Television Over Budget Issues Published October 05, 2011 | Associated Press advertisement In its 23rd year on TV, "The Simpsons" could be on the endangered species list.The show's producer said Tuesday the show can't continue under its current financial model, following a report that big pay cuts are being sought for the actors who provide voices for Homer, Marge and Bart Simpson and other characters."We believe this brilliant series can and should continue, but we cannot produce future seasons under its current financial model," said Chris Alexander, spokesman for 20th Century Fox Television. He said producers hope a deal can be reached.The animated series is a fixture on Fox's Sunday night schedule, and critics consider it one of the best shows in the medium. But like many programs that have been on the air for a long time, the cost of making it has become prohibitive.The Fox network reportedly loses money each year on new episodes, even as all the old episodes run in perpetuity in reruns and are a cash cow for producers and creators.The Daily Beast reported Tuesday that producers are demanding a 45 percent pay cut from the six voice actors, who reportedly make nearly $8 million each for a season. The website said the voice actors have offered to take a 30 percent pay in return for a portion of the show's syndication and merchandise revenue.Allan Mayer, a spokesman for one of the show's voice actors, Harry Shearer, said he had no comment on the talks. The manager for Dan Castellaneta, the voice of Homer Simpson, told The Associated Press she didn't know about the negotiations, and creator Matt Groening didn't immediately return a phone call."The Simpsons" is averaging 7.1 million viewers for its new episodes this fall, down 14 percent from last year. Back in the 1991-92 season, an average of 21.7 million people watched it every week, Nielsen said.The median age of the show's viewers back two decades ago was 23, and this season it is still very young for a TV show -- 32, Nielsen said. That's an indication of how the show has regenerated its audiences as the years go by."It's still a very young and male audience, which is difficult to reach on broadcast TV," said Brad Adgate, a researcher for Horizon Media. "Its longevity is due to that. They can charge a premium to reach that audience, and they do." Print Close URL http://www.foxnews.com/entertainment/2011/10/05/simpsons-in-danger-in-23rd-year-over-potential-pay-cut/

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Seth Meyers�continued his breakout year�Monday�night as the host of television's biggest night, the 66th Primetime Emmy Awards.Hosting a major awards show is ostensibly an honor, but increasingly, in the world of live-tweeting, a thankless assignment — and one that was made even more tedious by the fact that this year's Emmy telecast occurred on a�Monday. Did Meyers rise to the occasion?The first-time host told E! on the red carpet before the show that he'd focus his barbs on "what's happening in the world of television," as opposed to taking stabs at individual shows or actors, and held true to his word.Emmys: Who took home the biggest prizes?Reflecting�on Sunday's�VMA Awards�— which bumped the Emmys to aMonday�night for the first time in nearly 40 years — Meyers lampooned the irony of MTV handing out awards for music videos, which are at best a rarity on the channel anymore. "That's like network TV holding an awards show and giving all the trophies to cable and Netflix," Meyers quipped. "That would be crazy."Among his more barbed jokes was a stab at�Orange Is the New Black�— which raised eyebrows when it was submitted in the comedy category. "We had comedies that made you laugh, and comedies that made you cry ... because they were dramas submitted as comedies," Meyers quipped.By adopting the same play-it-safe approach he used as the host ofSaturday�Night Live's "Weekend Update," Meyers went for chuckles, not guffaws, and succeeded in being inoffensive — but also, in the process, more like a warm-up act than the main attraction. Even�Ricky Gervais�was more pointed during his presentation of Best Writing for a Variety Special, taking a jab at four-time winner�Jim Parsons, who beat him in the Best Lead Actor in a Comedy category.Red carpet hits and misses: Who were the best and worst dressed at the Emmys?And that's unsurprising. As the newly minted host of�Late Night with Seth Meyers, Meyers faces the same rock-and-a-hard-place quandary that previous hosts�Ellen DeGeneres,�Jimmy Fallon,�Jimmy Kimmel�and�Conan O'Brien�have gone up against: He will find himself interviewing many of the nominees (or at least requesting an appearance from them) on their own shows. So, maybe that's why the Academy should look outside the realm of talk shows for hosts in future years? I'd like to nominate�Julia Louis-Dreyfus, personally — but that's another conversation.All this is not to say that Meyers was a poor host. His "Weekend Update"-style opening monologue consisted mostly of one-liners and his signature smirk, after a beat. Among the more noteworthy:-"HBO is like the kid you grew up with who ended up doing way better than you expected."-"If you're an actor on�Game of Thrones, I imagine you wait for next week's script the way most people wait for biopsy results."-Advice to showrunners, once a show begins to gain ratings and critical acclaim: "Kill off all the main characters — otherwise, before you know it, you're paying Sheldon a�million dollars an episode."Meyers' best bit by far was a pre-taped Emmy edition of "Billy on the Street" with�Billy Eichner, in which the two comedians approached random strangers on the streets of New York City to get their thoughts on the Emmy nominations and snubs. (Spoiler alert: Most people weren't aware/didn't care one way or the other.) A highlight? One man misidentifying Meyers as "Seth MacFarlane." Check out the bit below:A mock Q&A session with celebrities in the audience was pretty tepid (although who knew�Julianna Margulies�had comedy chops?), as was an unexpected performance by�"Weird Al" Yankovic, who offered his own take on the theme songs from�Mad Men,�Scandal, Game of Thrones�and other shows. But those segments, by design, took the focus off of Meyers and onto his bench players — an odd tactic for a host, but clearly one borrowed from Meyers' years at�SNL.In his opening monologue, Meyers cracked that no one remembers the 1976 Emmys because they were held on a�Monday. For better or worse, Meyers didn't do anything to help the 2014 Emmys stand out — but maybe that's just what NBC was going for.What do you think — how did Seth Meyers do as host? Vote in our poll and sound off in the comments!Take the poll for this article at TVGuide.com >View original Emmys 2014: Did Seth Meyers Play It Too Safe? at TVGuide.comOther Links From TVGuide.com Saturday Night LiveEllen DeGeneresJimmy FallonJulia Louis-DreyfusJulianna MarguliesRicky GervaisJimmy KimmelSeth MacFarlaneConan O'BrienSeth MeyersThe Weird Al ShowJim ParsonsMad MenGame of ThronesScandalBilly EichnerOrange Is the New BlackLate Night With Seth Meyers

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Thunderbolt & Lightfoot - Blu-ray Preview Preview by Jack Foley SCREEN legends Clint Eastwood and Jeff Bridges star in legendary filmmaker Michael Cimino’s (Heaven’s Gate) directorial debut Thunderbolt and Lightfoot, which finally makes its Blu-ray debut on June 23, 2014 courtesy of Second Sight Films. Clint Eastwood is Thunderbolt a retired thief, who has the perfect plan to recover his lost loot with the help of his old gang. The idea is to steal the money, hide it in an old schoolhouse, lay low and collect it when the heat is off. But things don’t go to plan and while trying to escape a gunman he has a chance encounter with drifter Lightfoot Jeff Bridges. The pair become partners and the heat is on to recover the cash before someone else does in this thrilling caper. Jeff Bridges earned an Oscar nomination for his outstanding performance in this cult classic. Thunderbolt and Ligthfoot will be released for the first time on Blu-ray in the UK on June 23, 2014. Win Thunderbolt & Lightfoot on Blu-ray To celebrate the release of Thunderbolt & Lightfoot on Blu-ray on Monday, June 23, 2014, IndieLondon is offering readers the chance to win 1 of 3 copies. Simply answer the following question… Q. Who made his directorial debut with Thunderbolt & Lightfoot? Simply send the answer to Thunderbolt & Lightfoot competition and include your name, address, telephone number and email

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