Edward Burns on 'Newlyweds' and the way forward for Indie Filmmaking

With this tenth film like a director, Edward Burns went small. Tiny. The NY-born filmmaker behind 'The Siblings McMullen,' 'She's the One' and 'Sidewalks of NY' bought a Canon 5D camera from B&H electronics store for $3,000, used restaurants and street corners in the local Tribeca neighborhood as locations, and cast some frequent collaborators in key roles. One more $6,000 later, 'Newlyweds' was created. Directed by Burns, simply for that tenth anniversary from the Tribeca Film Festival, 'Newlyweds' concentrates on a set of NY couples: one at the beginning of the things they hope is going to be wedded bliss (Burns and Caitlin Fitzgerald), and something within the dying cycle of marriage (Max Baker and Marsha Dietlein Bennett). Things get difficult when Burns's half-sister (Kerry Bishe) turns up from out-of-town, searching to ruin his new relationship. On VOD beginning 12 ,. 26, 'Newlyweds' is just one of Burns's most powerful films in a long time -- a fantastic mixture of sharp comedy and honest drama that, in the best moments, fondly recalls the kind of NY-set relationship dramedies that Woodsy Allen accustomed to make before going to Europe. Burns, who'll appear onscreen in 'I, Alex Cross' opposite Tyler Perry the coming year, sitting lower with Moviefone in NY to go over his new film, why your camera equipment am vital that you its success, and just how the way forward for filmmaking could involve your couch. I have heard you discuss how shooting using the Canon 5D camera gave these to you immediately natural performances -- was that something you had been expecting or maybe it was enjoyable surprise? Somewhere among. What we should were attempting to do ended up being to go for your a bit. We could not manage to close the restaurants lower. Therefore we were really like, "Okay a documentary film crew -- when they would interview the bartenders or sit lower having a couple getting dinner, they'd use the ambient seem and also the live atmosphere." Therefore we thought, "Let us do this with this particular pseudo-doc." We made it happen on a single scene on 'Sidewalks of NY,' in Katz's Deli. To begin with, you cannot recreate that type of background action, and also the ambient seem is okay. Therefore we thought, "Let us embrace that." The one thing that happened that people didn't anticipate is, since the crew is really small -- but, additionally to that particular, your camera is really small -- you are not slating anything. What I have been attempting to tell people is, to have an actor, each time they are going to perform a take, a slate makes their face. Then linked with emotions . act opposite someone. Whether it's a detailed-up, there is a camera over my shoulder. Clearly, you're trained, you learn to not observe that stuff, there is however a boom arriving, along with a camera, an military behind it. The director calls cut. Then your hair person is available in. Make-up. Props. Clothes. Everything stuff. 5 to 10 minutes later: "Okay, take two." In this fashion, it is simply this little camera. There's little else around. You are just putting on these lavalier mics. There is no lights. You are inside a real atmosphere. There is no action. "Everyone ready? Let us go." You simply roll with the scene. Then, you roll through it again. It's like, "Hey, back that up maybe consider using a different line here." Eventually, you type of didn't remember ... I'd rather not state that you are inside a movie, however it was certainly as if you ended up into another space. This is exactly why we've got this realistic or conversational moments. This certainly feels as though a companion piece to 'Sidewalks of NY,' which arrived on the scene ten years ago. Why made it happen get you such a long time revisit this format? My creating partner Aaron Lubin and I've been speaking relating to this for a long time: what is the next pseudo-doc? I most likely wrote two others. One of these was set on New York which was known as 'Blue Suburban Skies' that people almost shot a few years ago. For reasons uknown we simply did not think the script was there. It had been something which I needed to complete. Plus, since I make these low quality -- and today micro budget -- films, individuals budgets lend themselves towards the pseudo-doc style. Now, I have fallen deeply in love with this 5D. So, I believe, almost every other film, I'll most likely want to return, because there's something nice about just having the ability to go anywhere with this factor and obtain all of this great production value. Is 'Sidewalks' your preferred film that you have done? I'd say 'Sidewalks' and today this film, are my two faves. This film was more enjoyable to create. Just before that, 'Sidewalks' was my personal favorite knowledge about stars Stanley Tucci trained us a lot about getting belief inside your cast. After I labored with Steven Spielberg on 'Private Ryan,' for 2 days, we did not have any direction whatsoever. We are doing two, three takes tops, then moving forward. Finally, two days in it, there is a scene where he's like, "Produce yet another. Produce yet another.Inch He then began to provide us direction. After seven takes, we first got it done, and that we finally requested him, "Why today?" He goes, "Well, today you did not know what the heck you had been doing." He described his process: "I'll let everyone decipher it working for yourself. I am not likely to let you know -- I am not going to provide you with direction following the first take. I do not wanna put any one of my ideas inside your mind. I figure you have done you are work, you've come prepared. If you do not have it the very first time, you are likely to hit that which you meant to do through the third one. If you do not, then I have to part of.Inch So, coming from 'Ryan,' I had been like, "OK, that's how I am likely to direct my stars." Also it was liberating. Another factor was I cast to types. So, it's like, "I am getting you in because I love that which you do. I really want you caused by your factor during my movie." On that film, I did not need to direct anybody. After which Stanley, was the very first actor really -- apart from Mike McGlone, who I'd labored within early films -- who's so great at inhabiting the smoothness and improvising inside the scene. About this film, we did lots of improvising, but we did not appear with no scene and say, "OK, men: talk!" It's like, "Okay, the scene begins here and finishes here let us run the lines, but within that, search for the moments that are not there. Or, once the scene appears like it is going to finish, push it a few beats later and find out what you are getting.Inch You've been a champion of VOD recently -- you may not think that's the way forward for independent film? A couple of things which i just heard. Comcast is going to release something which states within the last 12 several weeks, indie film viewership on VOD has leaped 75 %. So, that informs me the content we have been preaching during the last handful of time ... people have it. The audience can there be. They're within their family room. They used to visit the art-house theater. It is not that they are not thinking about these tales any longer, they simply aren't thinking about shlepping out and having to pay the additional dollars whether they have a pleasant system in your own home. I absolutely think it is the future -- specifically for the more compact independents. Since you can get available with a really small marketing budget. For the way much cash you are likely to invest in your film, now you can produce a business design where you are not taking a loss. I do not wanna say you are getting wealthy. Some films aren't will make money. But when your'e wise about this and tenacious, there's an opportunity to break even. It is a lot to produce a movie theatrically simply by P&A costs that you are always behind the 8-ball financially. You are almost certain to generate losses. Another factor is, by heading out on VOD and iTunes, especially, you are able to day an aggregator instead of a distributor. There's now a way to retain your copyright -- or simply lease it for them for a few years -- and really take part in the cash that's arriving. Theatrically, I will tell you, we have had films where we ought to have experienced some after sales, and nonetheless they do their accounting, I guarantee you do not get it. How about bigger indies -- something similar to 'The Descendants,' let us say. Are you able to picture a predicament where that ever ends up on VOD first? 'Margin Call' is an extremely interesting situation this season. Because there is a movie full of celebrities. Like, celebrities that typically would open inside a theater. That did VOD and theatrical day and date, which many of them avoid. Also it labored great. Now individuals are saying, "Okay, therefore the VOD won't cannibalize theatrical. They're two separate audiences. You will find individuals who just don't visit the theater, and you will find individuals who visit the theater. So you shouldn't be scared of each of them.Inch So, to reply to the question about will the larger indies -- I take a look at exactly what the theatrical box office results for almost all these indie films which come out. Now, granted, 'The Descendants': it's Alexander Payne. It's Clooney... Huge indie. Huge indie. The huge most of them, should you continue The Amounts or Variety, it is extremely tough of these movies to create even $a million or $two million. And guess what happens they have to spend to obtain them available. So, I understand some filmmakers will say, "Hey, it isn't a film unless of course it's launched theatrically. I am a moviemaker. I would like the excitement of this.Inch I certainly have that. I believe at the start of my career I could have been devastated to consider my movie was going straight onto VOD. But, what we have done, is that you could drive them to festivals. And also you obtain the thrill of seeing it performed while watching audience on the massive screen. In most cases, if you are doing festivals, you are in far better theaters compared to Angelika. Maybe you have wanted to create a large studio film? Years back, they found me with mainstream romcoms, which -- and I must admit -- I had been very enticed to complete one. After which I simply needed to obtain that soul-searching moment, where I am like, "Okay, if I am likely to sellout, I'd rather become unattainable being an actor than the usual filmmaker." And I am lucky for the reason that I've that other career where I'm able to sell myself. I had been gonna state that. Would you view your acting career as a way for an finish? Absolutely. The acting career is definitely -- and that i like it, and often you receive lucky and you're able to maintain an excellent movie. But, typically, it's fun to utilize other stars. It's fun that i can exercise individuals muscles. It is also great to exhibit on anybody's set. Like, 'Alex Mix,' I started work with Take advantage of Cohen, who's an excellent action filmmaker. And that he wasn't dealing with the dimensions or budget he was adopted to -- it was not really a $100 million movie -- and so i could visit school with an action director. For me personally, like a filmmaker, which was interesting. I've no curiosity about ever pointing anything just like a traditional blockbuster. Sci-fi movie. Super hero movie. Not necessarily my factor. I've got a handful of scripts which are bigger canvases, where I'd need -- let us say -- $15 to $25 million, but that is where I'd be preferred. [Photo: Getty] Follow Moviefone on Twitter Like Moviefone on Facebook

The Most Effective Geek Moments of 2011: From 'Transformers' to 'Deathly Hallows,' the most effective 11 in '11

Movies participate in the brainiacs -- how else can you explain el born area-office dominance of Harry Potter, Transformers and Marvel superheroes? Fans want out-of-this-world action and dazzling effects, and 2011's movies were very happy to deliver in spades. Whether it's a summer season blockbuster or possibly an unpleasant monster movie, we wish typically the most popular figures doing among three things whatsoever occasions: coming something up, doing something amusing or kissing someone hot (bonuses once they accomplish the three simultaneously). But every year filled with curler-coaster thrills, how will you pick the finest peaks? We needed another capture our breath and title the moments that made us geek probably the most this year. From wizard make-outs to absurd foreheads, listed below are Moviefone's Best Geek Moments of 2011. The Geekiest Movie Moments of 2011 11. Wolverine's Cameo in 'X-Males: Top Qualityཆ. Peter Sarsgaard's Temple in 'Green LanternƏ. Geek Hollywood Unites on 'The Adventures of TintinƎ. The Plague from 'Hobo Getting a Shotgunƍ. All the Asgard Moments in 'Thorƌ. The Jotnar from 'The Troll HunterƋ. They Finally Hug in 'The Deathly Hallows, Part 2Ɗ. The Driller from 'Transformers: Dark in the MoonƉ. Andy Serkis as Caesar in 'Rise in the Planet in the Apesƈ. Moses Versus. the Monsters in 'Attack the BlockƇ. 'The Situation' from 'Super 8' See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook

The Most Effective Movie Quotes of 2011: From 'The Hangover Part II' to 'Midnight in Paris,' the most effective 11 in '11

Another year of movies has transpired by some were good, a good deal were bad -- but the amount of were truly memorable? You understand you've had your lasting film experience when you are calculating it non-stop, even several days after it's come and gone inside the theaters. To celebrate the season that was 2011, Moviefone has develop our report on the eleven best movie quotes of year. The Most Effective 11 Movie Quotes From 2011 11. <a href="http://internet.moviefone.com/movie/evening time-in-paris/10036438/primary"> 'Midnight in Paris' </a>10. <a href="http://internet.moviefone.com/movie/tower-heist/52240/primary">'Tower Heist'</a>9. <a href="http://internet.moviefone.com/movie/attack-the-block/10056611/primary">'Attack the Block' </a>8. <a href="http://internet.moviefone.com/movie/the-hangover-2/38948/primary">'The Hanogver Part 2' </a>7. <a href="http://internet.moviefone.com/movie/5050/1417783/primary">཮/50' </a>6. 'Harry Potter as well as the Deathly Hallows: Part IIƋ. <a href="http://internet.moviefone.com/movie/hobo-with-a-shotgun/10038378/primary">'Hobo Getting a Shotgun' </a>4. <a href="http://internet.moviefone.com/movie/horrible-bosses/10038375/primary">'Horrible Bosses' </a>3. <a href="http://internet.moviefone.com/movie/crazy-stupid-love/10052074/primary">'Crazy, Stupid, Love.' </a>2. <a href="http://internet.moviefone.com/movie/the-muppets/1390395/primary">'The Muppets' </a>1. <a href="http://internet.moviefone.com/movie/bridesmaids/10035125/primary">'Bridesmaids' </a> See All Moviefone Galleries » Did we omit your chosen movie lines? Let us hear your picks to find the best quotes of 2011 . [Photo: Warner Bros.] Follow Moviefone on Twitter Like Moviefone on Facebook

IFC Acquires Rights To Mary Harrons The Moth Journals

IFC Films introduced today it's buying U.S. rights to Mary Harron’s sensual medieval film The Moth Journals, which carried out this year within the Toronto and Venice film festivals. Harron also written the script, which is founded on Rachel Klein’s novel the film originates from Alliance Films and Edward R. Pressman. Lily Cole, Sarah Gadon, Sarah Bolger and Scott Speedman star inside the story of Rebecca (Bolger), students within an exclusive female boarding school who's haunted by her father’s suicide and flows her heart inside a diary mostly devoted to her beloved roommate Lucy. Her sanity is examined though when Lucy abandons her for just about any mysterious new student, and Rebecca’s jealously and accusations rise after she begins to consider the brand new girl is dangerous, evil together with a vampire. Karine Martin and David Collins produced, with Sandra Cunningham, Pressman, Mark Slone, Jean-Francois Doray, Louis-Simon Menard, Norton Herrick, Zygi Kamasa and Jon Katz executive creating.

2011 Viewfinder Cites Best And Smartest Short, Video And Blurb Helmers

EXCLUSIVE: Here’s the completely new Viewfinder List, the entertainment industry survey which polls studio professionals, producers and creatives for top short films, ads and/or music videos. Like the Black List, the Viewfinder List recognizes short form video content as well as the rising helmers accountable for this. Several helmers on a year ago’s list got feature jobs the way in which this year’s helmers fare? This list was created by Rob Schroeder (Brillstein Entertainment Partners), Aaron Schmidt (Langley Park Pictures) and Patrick Chu (The Montecito Picture Company). This really is really the web site for your full list: http://internet.viewfinderframes.com/category/viewfinder-list-2011/ 24 Votes: Portal by Serta Trachtenberg (Short) Agents: Harley Copen, Emile Gladstone, Marc Helwig, George Ruiz / ICM. Managers: Ben Rowe / Oasis 17 Votes: Bubble Boy by Kealan ORourke (Short) Agents: Chris Cruz Trevor Astbury / Paradigm Manager: Jairo Alvarado / 3 Arts 13 Votes: Rosa by Jesus Orellana (Short) Agent: Bryan Besser / Verve Scott Glassgold/IAM Entertainment 9 Votes: The Gate by Matt Westrup (Short) Manager: Tom Drumm / Safran Co. 7 Votes: The Candidate by David Karlak (Short) Agents: Scott Henderson, Chris Cruz/Paradigm Manager: Trevor Engelson/Undercover 5 Votes: High Maintenance by Shawn Wines (Short) Agents: Aaron Hart, Ava Jamshidi/ ICM 4 Votes: Black Secrets Howlin to suit your needs by Chris Marrs Piliero (Music Video) Agents: Philip DAmecourt, Daniel Cohan, Roger Eco-friendly / WME Manager: Evan Silverberg / Undercover Management 4 Votes: Fleshlighting by Brandon Dermer (Short) Agent: Milana Rabkin/UTA Managers: Trevor Engelson, Evan Silverberg / Undercover Management 4 Votes: Blinky by Ruairi Robinson (Short) Agents: Martin Spencer, Adam Kanter/CAA Agent: Josh Varney / Independent Talent Group (Uk) Manager: Tom Lassally / 3 Arts Entertainment 3 Votes: Dogboarding directed by Daniels (Music Video) Manager: Christie Cruz, Brent Lilley / Variety Prettybird/Ads Agent 3 Votes: ExSex by Michael Mohan (Short) Agent: Kathleen Remington / ICM 3 Votes: Eye In The Storm by Chris Alender (Short) Agents: Ramses Ishak, Michael Sheresky/UTA Manager: James Engle / Benderspink 2 Votes: Dead Island by Stuart Aitken (Commercial) Manager: Richard Scott / Axis Animation 2 Votes: Pressure by Lance Accord (Commercial) Agents: Todd Feldman, John Garvey / CAA 2 Votes: Babyland by Marc Fratello (Short) Manager: Peter Dealbert / Principato/Youthful Management 2 Votes: Modern Occasions by Ben Craig (Short) Agent: David Karp, Robert Newman / WME Josh Varney & Duncan Heath/Independent

THR's Women in Entertainment 2011: Power 100

This story appears in the Dec. 2011 special issue of The Hollywood Reporter magazine. Putting together the ranked list of entertainment's most powerful women for this annual issue, The Hollywood Reporter's 20th, is nothing short of agonizing. For the top spots, the deliberations over who goes where became topics of vigorous debate in the hallways here at 5700 Wilshire. PHOTOS: 2011 Women in Entertainment Power 100 In all the discussions, however, one undisputed trend emerged: TV, especially the world of cable, is ascendant, and women disproportionately are driving it. It's no coincidence that four of the top five women on this year's Power 100 list come from the medium (the extraordinary Amy Pascal alone represents film at No. 2). Just a few years ago, film dominated entertainment with the most prestige, the greatest revenue and the biggest impact on our national conversation. Not anymore. Programming such as The Daily Show, Mad Men and even Jersey Shore drives pop culture to a greater extent than any motion picture in recent years, extending its influence into the realms of fashion, politics, publishing and music. One major studio exec recently bemoaned to me that, outside of the Twilight franchise, film is lacking a major "event." "No one is talking about movies right now," said this exec. "It's all about cable." COMPLETE LIST: 2011 Women in Entertainment Power 100 At the same time, the earnings of some of the leading cable networks have dwarfed those of the major studios, and the valuation of Disney Media Networks -- the division overseen by the list's top-spot holder, Anne Sweeney -- is hugely more than that of its sister movie studio. Total revenue for the entire movie industry this year is estimated by PricewaterhouseCoopers at $36.8 billion; by contrast, television advertising in the U.S. brought in $71.1 billion, and you can double that number if you add subscription and license revenue. But economics aren't the only reason these women are at the top. It's also because television has provided opportunity that film simply hasn't. A newer industry, cable was welcoming to all when it was birthing multitudes of then-not-so-fashionable networks. The high-powered women at the top of TV largely got their breaks in the "Wild West" days of early cable -- as one executive describes them -- when television created openings that the established, more relationship-oriented movie world didn't. None of this is to take away from the incredible women in film and other mediums on our Power 100. The same exec who decried the lack of momentum in movies was quick to point out, "It's all cyclical." Indeed, every single person on the list reflects extraordinary drive, intelligence and ability to weather whatever is around the bend in the industry. I dare anyone to not be inspired by every person in this issue. Congratulations to all. Janice Min Editorial Director Items 1-10 Items 11-20 Items 21-30 Items 31-40 Items 41-50 Items 51-60 Items 61-70 Items 71-80 Items 81-90 Items 91-100 Items 1-10 1 Anne SweeneyCo-Chairman, Disney Media Networks President, Disney/ABC Television G...read more 2 Amy PascalCo-Chairman, Sony Pictures Entertainmentread more 2 Bonnie HammerChairman, NBCUniversal Cable Entertainmentread more 4 Abbe RavenPresident and CEO, A+E Television Networksread more 5 Dana WaldenChairman, 20th Century Fox Televisionread more 6 Stacey SniderCo-Chairman and CEO, DreamWorksread more 7 Nina TasslerPresident, CBSread more 8 Donna LangleyCo-Chairman, Universal Picturesread more 9 Nancy DubucPresident, History and Lifetime Networksread more 10 Sue KrollPresident of Worldwide Marketing, Warner Bros. Pictures*read more

Who Will Win America's Next Top Model All-Stars? Vote!

America's Next Top Model, Lisa, Allison and Angelea After 12 weeks and 11 fallen stilettoed comrades, America's Next Top Model will determine which of its three finalists -- Lisa D'Amato, Allison Harvard or Angelea Preston -- will win Cycle 17 (Wednesday, 9/8c, The CW). At stake: the All-Stars crown, a spread in Vogue Italia, the cover of and a spread in Beauty in Vogue, a blog on Vogue.it, a $100,000 contract with CoverGirl, an Express fashion campaign, becoming the face of ANTM perfume and a chance to be a correspondent on Extra. Tyra Banks to Larry King: My Top Model persona is not me Let's take a look at the finalists: Lisa D'Amato Why she could win: Her branding word is "Daring," and there's no doubt that this wild child has embraced that risk-taking attitude. She's high energy, incredibly physical and the consummate performer. She can even rap! With two reward challenges and three first call-outs at judging, Lisa is a strong contender. Why she could lose: Lisa can be a bit too wild at time, losing the "model" in her performances. When she loses her cool, she also fails to deliver. Take for example when she landed in the Bottom Two for the Express campaign (as "The Cool Chick") and the Michael Jackson impersonation shoot - both of which would have fit her brand easily. Allison Harvard Why she could win: By far the most committed to her branding word, "Unique," Allison's Puss-in-Boots-like saucer eyes, kewpie-doll mouth, obvious intelligence and ability to bring weird and modelly together in one fabulously Frankensteinish package has charmed viewers, the audience - even guest-judge The Game. She's been consistently strong throughout, winning two reward challenges and two first call-outs. Also, her music video for "Underwater" still haunts us. Why she could lose: She only recently fell into the Bottom Two, and it was for her strange eyes that water uncontrollably in bright sunlight. And although she's articulate in person, she doesn't exactly have a firecracker personality. Angelea Preston Why she could win: "Persistence" is her branding word, which could serve her well. She has a "new money" kind of appeal, performed competently in the CSI challenge, won the reward challenge for her Greek blog post and earned a first call-out for her Express campaign as "The Socialite." Why she could lose: Her belligerent nature stems from her low self-esteem, which has time and time again undermined her performances. Of the finalists, she's been in the Bottom Two in these challenges: stilts, Michael Jackson impersonation, music video and Olympic sport. Vote for who you think should win America's Next Top Model All-Stars? Lisa Allison Angelea vote view results

'Dark Knight Rises' News: Prologue Confirmed, Gordon Retired

It's Monday, and another "Dark Knight Rises" heavy week is behind us. From the first official word on the Batman threequel's upcoming prologue to some new comments from actors involved with the cast, we've got all your "Dark Knight" needs covered today. Catch up on all the latest news out of Gotham City after the jump! The Prologue "Rises" Long rumored but now officially confirmed, the "Dark Knight Rises" prologue is very much headed your way. The six-minute sneak peek is heading into theaters on December 16, and on the latest episode of Talk Nerdy to Me, we focused on what we might see when that "Dark Knight" prologue finally drops. Check it out in the video below. "Magic Mike" Beats Batman Those words wouldn't make sense on any other day of the week, but actor Adam Rodriguez confessed in a recent interview that he had to abandon his bit part in "The Dark Knight Rises" in favor of shooting "Magic Mike," Steven Soderbergh's male-stripper movie. How anyone can leave Gotham City for a chance at stripper stardom is beyond me, but I digress. Oldman Retires Gordon Christian Bale isn't the only Batman actor leaving Gotham behind for good. Gary Oldman spoke with MTV News last week about his work on "The Dark Knight Rises," confirming that his days as Commissioner Jim Gordon are now at an end: "The Gordon mustache is retired. They gave me a shadow box, and it has my badge, my glasses and the mustache. He is retired." Tell us what you think of the latest "Dark Knight Rises" news in the comments section and on Twitter!

High School Romances and Hip Family Dramas: Sundance 2012 Competition Slates Announced

comments: 0 || add yours It’s nearly December which means that it is time for the Sundance Film Festival to announce their competitive programming selections. This year, the slates are varied containing two (2!) Mark Webber features, one Jonathan Kasdan teen rom-com, another Lena Dunham-penned dysfunctional NYC family drama and a number of titles that span genres and the globe. Among the actors featured in the line-up: Joel Edgerton, Michael Cera, Amanda Seyfried, Danny Glover, John Krasinski, Olivia Thirlby, Lizzy Caplan, Alison Brie, John Hawkes, William H. Macy and Helen Hunt. Look through the full press release below to predict who might be this year’s Elizabeth Olsen and what might be this year’s Take Shelter. ——— Park City, UT — Sundance Institute announced today the films selected for the U.S. and World Cinema Dramatic and Documentary Competitions of the 2012 Sundance Film Festival. The Sundance Film Festival will take place January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival. Robert Redford, Founder and President of Sundance Institute remarked, “We are, and always have been, a festival about the filmmakers. So what are they doing? What are they saying? They are making statements about the changing world we are living in. Some are straight-forward, some novel and some offbeat but always interesting. One can never predict. We know only at the end, and I love that.” John Cooper, Director of the Sundance Film Festival, said, “In these challenging economic times, filmmakers have had to be more resourceful and truly independent in their approaches to filmmaking. Looking at this year’s submissions, the result is more fully realized visions and stronger stories; we are proud to see the Festival emerging as a key indicator of the health and creativity of our filmmaking community. The overall quality of the films in the 2012 Competition section will make for an exciting Festival and a remarkable year ahead for independent film audiences everywhere.” For the 2012 Sundance Film Festival, 110 feature-length films were selected, representing 31 countries and 46 first-time filmmakers, including 26 in competition. These films were selected from 4,042 feature-length film submissions composed of 2,059 U.S. and 1,983 international feature-length films. 88 films at the Festival will be world premieres. In addition to the four Competition categories, the Festival presents feature-length films in six out-of-competition sections. Films in the Spotlight, Park City at Midnight, NEXT <=> and New Frontier sections will be announced on December 1. Films in the Premieres and Documentary Premieres sections will be announced on December 5. On Day One, the Festival will screen one narrative film and one documentary from both the U.S. and World Cinema competitions, as well as one shorts program. Keri Putnam, Executive Director of Sundance Institute, said, “The enthusiasm and optimism of John Cooper and his programming team this year is infectious; we are all excited to unveil and experience their selections for the 2012 Sundance Film Festival. On behalf of my colleagues at the Sundance Institute we are pleased to introduce new storytellers to our audience, welcome new and returning filmmakers to the Festival and kick off a lively cultural dialogue for 2012.” U.S. DRAMATIC COMPETITION The world premieres of 16 American narrative feature films. Beasts of the Southern Wild / U.S.A. (Director: Benh Zeitlin, Screenwriters: Benh Zeitlin, Lucy Alibar) — Waters gonna rise up, wild animals gonna rerun from the grave, and everything south of the levee is goin’ under, in this tale of a six year old named Hushpuppy, who lives with her daddy at the edge of the world. Cast: Quvenzhan Wallis, Dwight Henry. The Comedy / U.S.A. (Director: Rick Alverson, Screenwriters: Rick Alverson, Robert Donne, Colm O’Leary) — Indifferent even to the prospects of inheriting his father’s estate, Swanson whiles away his days with a group of aging Brooklyn hipsters, engaging in small acts of recreational cruelty and pacified boredom. Cast: Tim Heidecker, Eric Wareheim, Kate Lyn Sheil, Alexia Rassmusen, Gregg Turkington. The End of Love / U.S.A. (Director and screenwriter: Mark Webber) — A young father unravels following the loss of the mother of his child. Cast: Mark Webber, Shannyn Sossamon, Michael Cera, Jason Ritter, Amanda Seyfried, Frankie Shaw. Filly Brown / U.S.A. (Directors: Youssef Delara, Michael D. Olmos, Screenwriter: Youssef Delara) — A Hip Hop-driven drama about a Mexican girl who rises to fame and consciousness as she copes with the incarceration of her mother through music. Cast: Lou Diamond Phillips, Gina Rodriguez, Jenni Rivera, Edward James Olmos. The First Time / U.S.A. (Director and screenwriter: Jonathan Kasdan) — Two high schoolers meet at a party. Over the course of a weekend, things turn magical, romantic, complicated and funny, as they discover what it’s like to fall in love for the first time. Cast: Brittany Robertson, Dylan O’Brien, Craig Roberts, James Frecheville, Victoria Justice. For Ellen / U.S.A. (Director and screenwriter: So Yong Kim) — A struggling musician takes an overnight long-distance drive in order to fight his estranged wife for custody of their young daughter. Cast: Paul Dano, Jon Heder, Jena Malone, Margarita Levieva, Shay Mandigo. Hello I Must Be Going / U.S.A. (Director: Todd Louiso, Screenwriter: Sarah Koskoff) — Divorced, childless, demoralized and condemned to move back in with her parents at the age of 35, Amy Minsky’s prospects look bleak - until the unexpected attention of a teenage boy changes everything. Cast: Melanie Lynskey, Blythe Danner, Christopher Abbott, John Rubinstein, Julie White. DAY ONE FILM Keep the Lights On / U.S.A. (Director: Ira Sachs, Screenwriters: Ira Sachs, Mauricio Zacharias) — An autobiographically inspired story of a passionate long-term relationship between two men driven by addiction and secrets but bound by love and hopefulness. Cast: Thure Lindhardt, Zachary Booth, Julianne Nicholson, Souleymane Sy Savane, Paprika Steen. LUV / U.S.A. (Director: Sheldon Candis, Screenwriters: Sheldon Candis, Justin Wilson) — An orphaned 11-year-old boy is forced to face the unpleasant truth about his beloved uncle during one harrowing day in the streets of Baltimore. Cast: Common, Michael Rainey Jr., Dennis Haysbert, Danny Glover, Charles S. Dutton. Middle Of Nowhere / U.S.A. (Director and screenwriter: Ava DuVernay) — When her husband is incarcerated, an African-American woman struggles to maintain her marriage and her identity. Cast: Emayatzy Corinealdi, David Oyelowo, Omari Hardwick, Lorraine Touissant, Edwina Findley. Nobody Walks / U.S.A. (Director: Ry Russo-Young, Screenwriters: Lena Dunham, Ry Russo-Young) — Martine, a young artist from NY, is invited into the home of a hip, liberal LA family for a week. Her presence unravels the family’s carefully maintained status quo, and a mess of sexual and emotional entanglements ensues. Cast: John Krasinski, Olivia Thirlby, Rosemarie DeWitt, India Ennenga, Justin Kirk. Safety Not Guaranteed / U.S.A. (Director: Colin Trevorrow, Screenwriter: Derek Connolly) — A trio of magazine employees investigate a classified ad seeking a partner for time travel. One employee develops feelings for the paranoid but compelling loner and seeks to discover what he’s really up to. Cast: Aubrey Plaza, Mark Duplass, Jake Johnson, Karen Soni. Save the Date / U.S.A. (Director: Michael Mohan, Screenwriters: Jeffrey Brown, Egan Reich, Michael Mohan) — As her sister Beth prepares to get married, Sarah finds herself caught up in an intense post-breakup rebound. The two fumble through the redefined emotional landscape of modern day relationships, forced to relearn how to love and be loved. Cast: Lizzy Caplan, Alison Brie, Martin Starr, Geoffrey Arend, Mark Webber. Simon Killer / France, U.S.A. (Director and screenwriter: Antonio Campos) — A recent college graduate goes to Paris after breaking up with his girlfriend of 5 years. Once there, he falls in love with a young prostitute and their fateful journey begins. Cast: Brady Corbet, Mati Diop, Constance Rousseau, Michael Abiteboul, Solo. Smashed / U.S.A. (Director: James Ponsoldt, Screenwriters: Susan Burke, James Ponsoldt) — Kate and Charlie are a young married couple whose bond is built on a mutual love of music, laughter and… drinking. When Kate decides to get sober, her new lifestyle brings troubling issues to the surface and calls into question her relationship with Charlie. Cast: Mary Elizabeth Winstead, Aaron Paul, Octavia Spencer, Nick Offerman, Megan Mullally. The Surrogate / U.S.A. (Director and screenwriter: Ben Lewin) — Mark O’Brien, a 36-year-old poet and journalist with an iron lung, decides he no longer wishes to be a virgin. With the help of his therapist and the guidance of his priest, he contacts a professional sex surrogate to take him on a journey to manhood. Cast: John Hawkes, Helen Hunt, William H. Macy. U.S. DOCUMENTARY COMPETITION The world premieres of 16 American documentary films. Ai Weiwei: Never Sorry / U.S.A., China (Director: Alison Klayman) — Renowned Chinese artist and activist Ai Weiwei has garnered international attention as much for his ambitious artwork as his political provocations and increasingly public clashes with the Chinese government. The Atomic States of America / U.S.A. (Directors: Don Argott, Sheena M. Joyce) — In 2010, the United States announced construction of the first new nuclear power plant in more than 32 years. A year later, a 9.0 magnitude earthquake struck the Fukushima Power Plant in Japan sparking a fierce debate in the U.S. over the safety and viability of nuclear power. Chasing Ice / U.S.A. (Director: Jeff Orlowski) — Science, spectacle and human passion mix in this stunningly cinematic portrait as National Geographic photographer James Balog captures time-lapse photography of glaciers over several years providing tangible visual evidence of climate change. DETROPIA / U.S.A. (Directors: Heidi Ewing, Rachel Grady) — The woes of Detroit are emblematic of the collapse of the U.S. manufacturing base. This is the dramatic story of a city and its people who refuse to leave the building, even as the flames are rising. ESCAPE FIRE: The Fight to Rescue American Healthcare / U.S.A. (Directors: Matthew Heineman, Susan Froemke) — What can be done to save our broken medical system? Powerful forces are trying to maintain the status quo in a profit-driven medical industry, but a movement to bring innovative methods of prevention and healing is finally gaining ground - potentially saving the health of a nation. Finding North / U.S.A. (Directors: Lori Silverbush, Kristi Jacobson) — A crisis of hunger looms in America and is not limited to the poverty stricken and uneducated. Can a return to policies of the 1970s save our future? The House I Live In / U.S.A. (Director: Eugene Jarecki) — For over 40 years, the War on Drugs has accounted for 45 million arrests, made America the world’s largest jailer and damaged poor communities at home and abroad. Yet, drugs are cheaper, purer and more available today than ever. Where did we go wrong and what is the path toward healing? How to Survive a Plague / U.S.A. (Director: David France) — The untold story of the intensive efforts that turned AIDS into a manageable condition - and the improbable group of (mostly HIV-positive) young men and women whose amazing resilience broke through a time of rampant death and political indifference. The Invisible War / U.S.A. (Director: Kirby Dick) — An investigative and powerfully emotional examination of the epidemic of rape of soldiers within the U.S. military, the institutions that cover up its existence and the profound personal and social consequences that arise from it. Marina Abramovi The Artist is Present / U.S.A. (Director: Matthew Akers) — Marina Abramovi prepares for a major retrospective of her work at The Museum of Modern Art in NY hoping to finally silence four decades of skeptics who proclaim: ‘But why is this art?’ ME at the ZOO / U.S.A. (Directors: Chris Moukarbel, Valerie Veatch) — With 270 million hits to date, Chris Crocker, an uncanny young video blogger from small town Tennessee, is considered the Internet’s first rebel folk hero and at the same time one of its most controversial personalities. The Other Dream Team / Lithuania, U.S.A. (Director: Marius Markevicius) — The 1992 Lithuanian National Basketball Team went from the clutches of Communism to the Summer Olympics in Barcelona - a testament to the powerful role of sports as a catalyst for cultural identity. The Queen of Versailles / U.S.A. (Director: Lauren Greenfield) — Jackie and David were triumphantly constructing the biggest house in America - a sprawling, 90,000-square-foot palace inspired by Versailles - when their timeshare empire collapses and their house is foreclosed. Their rags-to-riches-to-rags story reveals the innate virtues and flaws of the American Dream. DAY ONE FILM Slavery By Another Name / U.S.A. (Director: Sam Pollard) — As slavery came to an end with Abraham Lincoln’s Emancipation Proclamation, a new system of involuntary servitude took its place with shocking force, brutalizing, terrorizing and ultimately circumscribing the lives of hundreds of thousands of African Americans well into the 20th century. Love Free or Die: How the Bishop of New Hampshire is Changing the World / U.S.A. (Director: Macky Alston) — One man whose two defining passions are in conflict: An openly gay bishop refuses to leave the Church or the man he loves. We’re Not Broke / U.S.A. (Directors: Karin Hayes, Victoria Bruce) — As American lawmakers slash budgets and lay off employees, leaving many people scrambling to survive, multibillion-dollar corporations are concealing colossal profits overseas to avoid paying U.S. income tax. Fed-up Americans are taking their frustration to the streets. WORLD CINEMA DRAMATIC COMPETITION Fourteen films from emerging filmmaking talents offer fresh perspectives and inventive styles. 4 Suns / Czech Republic (Director and screenwriter: Bohdan Slma) — Immature Fogi attempts to straighten up and accept his responsibilities as a new husband and father, as well as role model to his troubled son from a previous relationship, but finds himself unable to change his nature, leaving him to watch haplessly as his family begins to crumble. Cast: Jaroslav Plesl, Aa Geislerov, Karel Roden, Ji Mdl, Klra Melkov. World Premiere About the Pink Sky / Japan (Director and screenwriter: Keiichi Kobayashi) — A high school girl finds a wallet full of money and tracks down its owner, leading to unexpected consequences for the girl and her friends. Cast: Ai Ikeda, Ena Koshino, Reiko Fujiwara, Tsubasa Takayama, Hakusyu Togetsuan. International Premiere Can / Turkey (Director and screenwriter: Rasit Celikezer) — A young married couple live happily in Istanbul, but their decision to illegally procure a child threatens their future together. Cast: Selen Ucer, Serdar Orcin, Berkan Demirbag, Erkan Avci. World Premiere Father’s Chair (A Cadeira do Pai) / Brazil (Director: Luciano Moura, Screenwriters: Elena Soarez, Luciano Moura) — Following the trail of his runaway teen son, Theo confronts his own identity as a son, a father and a man along the way. Cast: Wagner Moura, Lima Duarte, Mariana Lima. World Premiere L / Greece (Director: Babis Makridis, Screenwriters: Efthymis Filippou, Babis Makridis) — A man who lives in his car gets caught up in the undeclared war between motorcycle riders and car drivers. Cast: Aris Servetalis, Makis Papadimitriou, Lefteris Mathaios, Nota Tserniafski, Stavros Raptis. World Premiere The Last Elvis (El Ultimo Elvis) / Argentina (Director: Armando Bo, Screenwriters: Nicols Giacobone and Armando Bo) — A Buenos Aires Elvis impersonator who believes that he is the reincarnation of the King struggles to shake free from reality and live his musical dream. Cast: John McInerny, Griselda Siciliani, Margarita Lopez. World Premiere Madrid, 1987 / Spain (Director and screenwriter: David Trueba) — The balance of power and desire constantly shifts during the meeting of an older journalist and a young student, of two generations completely foreign to one another. Cast: Jos Sacristn, Mara Valverde, Ramon Fontser. International Premiere My Brother the Devil / United Kingdom (Director and screenwriter: Sally El Hosaini) — A pair of British Arab brothers trying to get by in gangland London learn the extraordinary courage it takes to be yourself. Cast: James Floyd, Sad Taghmaoui, Fady Elsayed. World Premiere Teddy Bear / Denmark (Director: Mads Matthiesen, Screenwriters: Mads Matthiesen, Martin Pieter Zandvliet) — Dennis, a painfully shy 38-year-old bodybuilder who lives with his mother, sets off to Thailand in search of love. Cast: Kim Kold, Elsebeth Steentoft, Lamaiporn Sangmanee Hougaard, David Winters, Allan Mogensen. World Premiere Valley of Saints / India, U.S.A. (Director and screenwriter: Musa Syeed) — Gulzar plans to run away from the war and poverty surrounding his village in Kashmir with his best friend, but a beautiful young woman researching the dying lake leads him to contemplate a different future Cast: Gulzar Ahmad Bhat, Mohammed Afzal Sofi, Neelofar Hamid. World Premiere Violeta Went to Heaven (Violeta se Fue a Los Cielos) / Chile, Argentina, Brazil, Spain (Director: Andrs Wood, Screenwriters: Eliseo Altunaga, Rodrigo Bazaes, Guillermo Caldern, Andrs Wood) — A portrait of famed Chilean singer and folklorist Violeta Parra filled with her musical work, her memories, her loves and her hopes. Cast: Francisca Gaviln, Thomas Durand, Luis Machn, Gabriela Aguilera, Roberto Faras. International Premiere Wish You Were Here / Australia (Director: Kieran Darcy-Smith, Screenwriters: Felicity Price, Kieran Darcy-Smith) — Four friends embark on a carefree holiday, but only three return home. Who knows what happened on that fateful night? Cast: Joel Edgerton, Teresa Palmer, Felicity Price, Antony Starr. World Premiere. DAY ONE FILM WRONG / France (Director and screenwriter: Quentin Dupieux) — Dolph searches for his lost dog, but through encounters with a nympho pizza-delivery girl, a jogging neighbor seeking the absolute, and a mysterious righter of wrongs, he may eventually lose his mind… and his identity. Cast: Jack Plotnick, Eric Judor, Alexis Dziena, Steve Little, William Fichtner. World Premiere Young & Wild / Chile (Director: Marialy Rivas, Screenwriters: Marialy Rivas, Camila Gutirrez, Pedro Peirano) — 17-year-old Daniela, raised in the bosom of a strict Evangelical family and recently unmasked as a fornicator by her shocked parents, struggles to find her own path to spiritual harmony. Cast: Alicia Rodrguez, Aline Kuppenheim, Mara Gracia Omegna, Felipe Pinto. World Premiere WORLD CINEMA DOCUMENTARY COMPETITION Twelve documentaries by some of the most courageous and extraordinary filmmakers working today. REVOLUTION / Denmark (Directors: Omar Shargawi, Karim El Hakim) — In January 2011, two filmmakers captured the reality of the Egyptian revolution as it occurred out of view from the world’s media in the alleyways and streets away from the square - and in the process were arrested by the secret police. North American Premiere 5 Broken Cameras / Palestine, Israel, France (Directors: Emad Burnat, Guy Davidi) — A Palestinian journalist chronicles his village’s resistance to a separation barrier being erected on their land and in the process captures his young son’s lens on the world. International Premiere THE AMBASSADOR / Denmark (Director: Mads Brgger) — What happens when a very white European man buys his way into being a diplomat in one of Central Africa’s most failed nations? Welcome to the bizarre and hidden world of African diplomacy, where gin and tonics flow and diamond hustlers and corrupt politicians run free. North American Premiere **BIG BOYS GONE BANANAS!*** / Sweden (Director: Fredrik Gertten) — The behind-the-scenes story of a full-scale attack on freedom of speech. When Dole set its sights on the WG Film production Bananas!* in May 2009, confusion was the method, aggression was the tactic and media control was the story. North American Premiere China Heavyweight / Canada, China (Director: Yung Chang) — In central China, where a coach recruits poor rural teenagers and turns them into Western-style boxing champions, the top students face dramatic choices as they graduate - should they fight for the collective good or for themselves? A metaphor for the choices everyone in the New China faces now. World Premiere Gypsy Davy / Israel, U.S.A., Spain (Director: Rachel Leah Jones) — How does a white boy with Alabama roots become a Flamenco guitarist in Andalusian boots? A tale of self-invention and the pursuit of happiness, regardless of the cost to others. International Premiere The Imposter / United Kingdom (Director: Bart Layton) — In 1994 a 13-year-old boy disappears from his home in San Antonio, Texas. Three and a half years later he is found alive thousands of miles away in Spain with a shocking story of kidnap and torture. But all is not what it seems in this tale that is truly stranger than fiction. World Premiere Indie Game: The Movie / Canada (Directors: Lisanne Pajot, James Swirsky) — Follow the dramatic journeys of indie game developers as they create games and release those works, and themselves, to the world. World Premiere The Law in These Parts / Israel (Director: Ra’anan Alexandrowicz) — Israel’s 43-year military legal system in the Occupied Palestinian Territories unfolds through provocative interviews with the system’s architects and historical footage showing the enactment of these laws upon the Palestinian population. International Premiere Payback / Canada (Director: Jennifer Baichwal) — Based on Margaret Atwood’s best-selling book, Payback explores how debt is a central organizing principle in our lives - influencing relationships, societies, governing structures and the very fate of this planet. World Premiere Putin’s Kiss / Denmark (Director: Lise Birk Pedersen) — 19-year-old Marsha is a model spokesperson in a strongly nationalistic Russian youth movement that aims to protect the country from its enemies. When she starts recognizing the organization’s flaws, she must take a stand for or against it. North American Premiere Searching for Sugar Man / Denmark, United Kingdom (Director: Malik Bendjelloul) — Rodriguez was the greatest ’70s US rock icon who never was. Hailed as the greatest recording artist of his generation he disappeared into oblivion - rising again from the ashes in a completely different context many miles away. World Premiere. DAY ONE FILM The Sundance Film Festival A program of the non-profit Sundance Institute, the Festival has introduced global audiences to some of the most ground-breaking films of the past two decades, including sex, lies, and videotape, Maria Full of Grace, The Cove, Hedwig and the Angry Inch, An Inconvenient Truth, Precious, Trouble the Water, and Napoleon Dynamite, and through its New Frontier initiative, has showcased the cinematic works of media artists including Isaac Julian, Doug Aitken, Pierre Huyghe, Jennifer Steinkamp, and Matthew Barney. The 2012 Sundance Film Festival sponsors include: Presenting Sponsors - Entertainment Weekly, HP, Acura, Sundance Channel and Chase SapphireSM; Leadership Sponsors - Adobe Systems Incorporated, Bing, Canon, DIRECTV, Focus Forward, a partnership between GE and CINELAN, Southwest Airlines, Sprint and Yahoo!; Sustaining Sponsors - Bertolli Frozen Meal Soups, FilterForGood, a partnership between Brita and Nalgene, Grey Goose Vodka, Hilton HHonors and Waldorf Astoria Hotels & Resorts, L’Oral Paris, Stella Artois, Timberland, Time Warner Inc. and YouTubeTM. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations will defray costs associated with the 10-day Festival and the nonprofit Sundance Institute’s year-round programs for independent film and theatre artists. www.sundance.org/festival Sundance Institute Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its artistic development programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work. The Institute promotes independent storytelling to inform, inspire, and unite diverse populations around the globe. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Son of Babylon, Amreeka, An Inconvenient Truth, Spring Awakening, I Am My Own Wife, Light in the Piazza and Angels in America. Join Sundance Institute on Facebook, Twitter and YouTube. # # Tagged: sundance film festival, sundance2012

Black Eyed Peas To Participate Obama For Tree Lighting

First Launched: November 30, 2011 11:06 AM EST Credit: Getty Images Caption apl.p.ap, Fergie, will.i.am and Taboo in the Black Eyed Peas attend the Peapod Adobe Youth Voices Academy launch at Urban Arts Partnership in NY City, on April 19, 2011WASHINGTON, D.C. -- The Black Eyed Peas and Kermit the Frog are joining picking a artists who'll help light the country's Christmas Tree near to the White-colored House. Carson Daly will host the lighting ceremony Thursday. Artists may even include Hugely Hurry, Betty Goulding, this rock band OneRepublic, country star Rodney Atkins and singer Marsha Ambrosius. Leader Obama and also the family will formally light the tree. This is actually the 89th year for your holiday tree lighting. The tradition began with Leader Calvin Coolidge in 1923. This really is really the very first lighting from the new National Christmas Tree that was grown in March. Its a 26-ft-tall Colorado blue brighten in the Nj tree nursery. Strong winds in February toppled the ultimate tree which in fact had was round the Ellipse since 1978. Copyright 2011 with the Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Scarlett Johansson Talks Social Media: I Cant Consider Anything Id Rather Do Less

First Launched: November 27, 2011 5:15 PM EST Credit: Getty Images La, Calif. -- Caption Scarlett Johansson round the red-colored-colored carpet within the 2011 Oscars Sorry, Facebook Scarlett Johansson is not interested in you. In the interview while using Huffington Publish co-founder Arianna Huffington for Interview magazine, the infamously private actress states while she sights social networking an amazing tool in an effort to boost awareness and share information, the thought of trying to help keep fans current on her behalf account every whim is a factor she finds confusing. I don't possess a Facebook or possibly a Twitter account, which i've no clue the way in which i experience this idea of, Now, Im eating dinner, which i would like everyone to know that Im getting dinner at this time around around, or I merely mailed instructions and shipped the kids, Scarlett, who'll next be seen round the silver screen alongside Matt Damon in We Bought A Zoo, mentioned. That, in my opinion, is definitely an very strange phenomenon. I cant consider anything Id rather do under have to continuously share nuances of my everyday existence. The 27-year-old beauty, whose private nude photos hit the internet in September carrying out a hacker utilized her e-mail account, mentioned she's always surprised that numerous her fellow stars have Twitter accounts. I guess they'll use it with techniques that really creates their account, she mentioned. But Id rather that people had less utilization of my very own existence. Essentially will keep it by doing this, Id be described as a happy lady. For your full interview with Scarlett, obtain a duplicate of Interviews December problem. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Redford, T. Bone Burnett to speak at Sundance London

LONDON -- Robert Redford and "Crazy Heart" music producer and singer-songwriter T. Bone Burnett will kick off the first ever Sundance London music and film fest on April 26. Redford and Burnett will open the four-day fest, which will take place at AEG's O2 venue, with a conversation about the relationship between film and music. Author and screenwriter Nick Hornby will moderate the conversation, dubbed "An Evening with Robert Redford and T. Bone Burnett," which will feature a special musical guest to be announced soon. Redford, founder and prexy of the Sundance Film Institute, and Burnett will share their recollections of achieving great musical moments with filmmakers, thesps and musicians that they have collaborated with throughout their careers. Burnett has worked on the music for pics such as "The Big Lebowski," "O Brother, Where Art Thou?," "Walk the Line" and "Crazy Heart," the latter for which he won an Oscar. Burnett has also produced albums from Robert Plant and Alison Krauss, Counting Crows, Roy Orbison and The Wallflowers.Sundance London, which runs April 26-29, will be programmed by the Sundance Institute while the music component of the fest will be spearheaded by AEG Europe. The inaugural edition of the fest will see 14 pics from the 2012 Sundance Film Festival line-up make their U.K. preems at Sundance London. Contact Diana Lodderhose at diana.lodderhose@variety.com

Britain Wins 5 International Emmys

First Published: November 21, 2011 10:38 PM EST Credit: Getty Premium Caption Lady Gaga stands with Nigel Lythgoe of Britain, American Idol Executive Producer, after presenting him with The Founders Award at the 39th International Emmy Awards November 21, 2011NY, N.Y. -- Christopher Eccleston and Julie Walters garnered the main acting awards as British TV productions won five International Emmys on Monday, including two for the BBC crime anthology Accused. Accused, written and created by Jimmy McGovern, received the Emmy for best drama series at the 39th Annual International Emmy Awards ceremony at the Hilton NY Hotel. The anthology tells the stories of people accused of crimes as they sit in holding cells beneath the courtroom awaiting the verdict in their trials. The ceremony kicked off with a surprise appearance by Lady Gaga, dressed in a demur black dress, who presented the International Emmy Founders Award to Britains Nigel Lythgoe, the executive producer of American Idol and So You Think You Can Dance? Lythgoe was recognized for his work as a major reality show innovator as well as for his deep commitment to dance around the world. Accused originally wasnt even among the nominees in the drama category. But it ended up replacing another British crime show Sherlock after it was determined that the updated version of the Sherlock Holmes mysteries had also been nominated for a Primetime Emmy Award in the U.S. The rules bar a program from being entered into the two Emmy competitions in the same year. Eccleston, the former Doctor Who star, won the best actor award for his role in an episode of Accused, in which he played a financially stressed, lapsed Catholic plumber whos struggling with an adulterous relationship and coming up with the money to pay for his daughters wedding. After praying to God, he finds a packet of 20,000 pounds in the back of a taxi, doubles his money on the roulette wheel, but ends up on trial after the windfall turns out to be forged notes. Walters, who earlier won a British BAFTA TV award for the same role, was chosen best actress for the TV film Mo. She portrayed the late Mo Mowlam, the unorthodox British politician who battled a brain tumor which she concealed from Prime Minister Tony Blair while working to forge the 1998 Northern Ireland peace accord. The other British winners both centered around teenagers in unusual circumstances. Gareth Malone Goes to Glyndebourne won in the arts programming category for its account of the staging of a new opera featuring untrained teenagers at the renowned British opera house. The Emmy for non-scripted entertainment went to The Worlds Strictest Parents, which takes unruly British teenagers and sends them abroad to spend 10 days living with a strict host family. Forty nominees from a record 20 countries were competing in 10 categories for International Emmys, honoring excellence in television programming outside the U.S., at the ceremony hosted for the second straight year by former Beverly Hills 90210 star Jason Priestley. The award in the TV Movie/Mini-Series category went to Swedens Millennium, based on the late Stieg Larssons best-selling trilogy that follows investigative journalist Mikael Blomkvist and the anti-social computer hacker Lisbeth Salander as they unravel various crimes. In the telenovela category, Portugal won for the second straight year this time for Lacos de Sangue (Blood Ties),about a woman long thought dead after her father drowned trying to save her from being swept away in a river current who unexpectedly returns to take revenge on her older sister. A real-life family drama, Canadas Life with Murder, about parents struggling to decide how to relate to their son after hes accused of killing his younger sister, was chosen the best documentary. The Belgian hidden camera show, Benidorm Bastards, in which seven senior citizens set out to trick as many young people as they can, received the award for best comedy. Chiles Con Que Suenas? (What Is Your Dream?) was the winner in the children&young people category. Actress Archie Panjabi (The Good Wife) and Citigroup chairman Richard Parsons presented the honorary International Emmy Directorate Award to Indian media mogul Subhash Chandra, who broke a government monopoly by launching Indias first privately owned television channel nearly 20 years ago. His Zee TV network now reaches more than 600 million viewers worldwide. The awards are sponsoredby the International Academy of Television Arts&Sciences, which includes media and entertainment figures from more than 50 countries and 500 companies. Copyright 2011 by The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

ROLL CALL: Who Is Worth More? Demi Moore Or Ashton Kutcher?

First Published: November 18, 2011 2:41 PM EST Credit: Caption Ashton Kutcher and Demi Moore LOS ANGELES, Calif. -- Your Daily Dispatch of Celebrity Shenanigans Who Leaves With A Bigger Bankroll?: Now that Demi Moore and Ashton Kutcher have announced their split, its time to divvy up their lives and assets but who is worth more? According to E! Online, Ashton is the bigger bread winner. As painful as this is to say, Ashton has great earning potential from here on out, and Demi Moore does not, Forbes Dorothy Pomerantz told E!. Because of Two and a Half Men, he is earning close to $700,000 an episode, and if his show goes into syndication he will earn more from that. Having a hit show gives you amazing earning potential. So far this year, he reportedly pulled in another $2 million from his movies, $1 million from his restaurants and $1 million from That 70s Show residuals. As for Demi, shes estimated to have made approximately $5 million from endorsement deals and residuals. The Work Dont Stop!: And the same day the split was announced, Ashton was photographed at work on Two and a Half Men, check out the star, HERE! Bradley Cooper Incites Protesters!: Sexiest Man Alive 2011 drama continues! Team Ryan Gosling still not happy about Bradley Cooper nabbing the coveted title gathered in NY City outside the offices of People magazine. The crowd of around 15 protested the Bradley injustice wearing Ryan masks and braving the rain. #PleaseGoOccupySomethingMoreImportant! Gagas Junk: Speaking of important matters, just in case you missed it, Diddy wrote a coffee table book about booty, titled Culo and Lady Gaga is treating fans to a whole lot of her culo! Check out the junk in Gagas trunk, HERE! -By Jesse Spero Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

How Electronic Music Moved The Masses in 2011

If 1991 was the year punk broke, 2011 was the year club music crept into the heart of America.our editor recommendsDJ Magazine Unveils Its Annual Top 100 DJs List in AmsterdamElectric Daisy Carnival Returns to Las Vegas, Sets DatesLive Nation Canada Launches Electro Music Division In a trend that was born in the EU and Scandinavia and has been building stateside for the better part of a decade, the floodgates burst open this year with everyone from Rihanna to Britney Spears riding the coattails of Euro-styled synth hooks to the top of the charts. In-demand DJs are now pocketing as much as $200,000 a show and selling out multiple nights in cities from NY to Los Angeles. Perhaps the best example of the electronic revolution? Insomniac Events' Electric Daisy Carnival, a dance festival that has attracted tens of thousands of revelers to stadium-style venues for years. It made national headlines in 2010 when a 15-year-old girl died of an ecstasy overdose after the concert in Los Angeles. Since then, attendance has exploded, reaching 230,000 when the event moved to Las Vegas this year - and injected some $136 million into the Clark County economy, according to one study. Scouring YouTube, Twitter and the club scene for future headliners are companies such as William Morris Endeavor, early adopters of the dance trend who opened up an electronic music department in 2008 that now boasts more than 150 acts. Others followed suit: APA recently formed an electronic music division, as has Live Nation in the U.S. and Canada (both launched this year). STORY: Electric Daisy Carnival Kicks Off: Is Las Vegas Becoming America's Answer to Ibiza? "It's exciting to see it crossing over," says Insomniac president and CEO Pasquale Rotella. "It's something I dreamt of 20 years ago." What Rotella might have not imagined, however, is just how large the EDM (electronic dance music) movement would become. While the genre doesn't outsell hip-hop in recorded music, it performs well on iTunes worldwide and has surpassed rap in the live arena. Once word slowly tricked out that Rotella and companies such as Holland's ID&T (which does analogous events in Europe) were making millions via house music-centric events that mimic old school "raves" with top-tier DJ talent and experiential lighting elements, the mold was set a few years ago for what has now become big business. But it's not just festivals anymore where real money is being made in the live electronic music market.DJ-producer Deadmau5 recently sold out six consecutive nights at NY's Roseland Ballroom, eclipsing the venue's previous record holder Rage Against the Machine in a symbolic passing of the torch from rock to house music for teens and twentysomethings. STORY: 'Electric Daisy' Film Premiere and Riot: A View From the Front Line Earlier this month in his hometown of Toronto, Deadmau5 played to more than 20,000 at Rogers Centre, a venue usually reserved for names such as U2. Tiesto, who is ranked among the top-grossing live acts in the world, recently headlined the Home Depot Center (capacity: 27,000) in Carson, California (last year, the Dutch trance titan took in nearly $900,000 in one three-night stand at L.A.'s Shrine Auditorium). To compare, Taylor Swift can pull in similar-sized crowds, but few others come close. Live Nation, still smarting from a weak 2010, wants in on the action. Rotella says Insomniac has been "in talks" with the live events giant regarding a possible partnership, but the original West Coast player might not need them. In the coming weeks, Insomniac, which already announced a return to Las Vegas for its crown jewel summer blowout (presales have been strong) is expected to soon announce a massive expansion of the Electric Daisy Carnival concept, with 2012 stops planned for the highly populated East Coast corridor and Brazil, although not all will be EDC-branded. "We're doing 16 festivals in 2012," he said. "Some are locked down and some are getting there."To be clear, not all the events will be EDC-branded. Only five will carry the EDC name, yet the fact that Rotella is rolling into so many new markets, some international, shows the strength of the dance music sector, even in a still-lingering recession. VIDEO: David Guetta's 'Nothing But the Beat' Lands in Hollywood Still, despite the expansion, Rotella says it's all about going where the demand is: EDC in Colorado will not happen in 2012 as it has the past few years."We couldn't gross enough [there] to support people's expectations," he said, noting that already the mile high market was buying tickets to the larger annual Las Vegas edition of EDC in sizable numbers. When it comes to DJ-based electronic music experiences in a live setting, large-scale events, be it 20,000-seat arenas or 70,000-capacity stadiums, are increasingly where the movement is heading, in part because the overhead is so much lower -- a DJ needs little more than a laptop, as opposed to a pop star like Lady Gaga who requires a few dozen trucks' worth of production and gear (although some DJs, such as Swedish House Mafia and Kaskade, are investing in ever more complex lighting rigs). Dance acts, which are mostly vocals-free, also don't rely on radio play and aren't restricted by a promotional calendar. Fans are devotional in a way the big music labels are only recently starting to understand. Take, for example, Miami's three-day Ultra Music Festival, which last year featured more than 130 acts. It's already at 70 percent capacity in presales, say promoters, who haven't even revealed the talent lineup yet."Last year, we sold out six weeks prior [to the event]," says Russell Faibisch, co-founder of the fest, which launched in 1999. "This year, we sold 100,000 tickets within the first week, and we haven't even announced one artist yet." Ultra's website crashed briefly after more than 1 million page views put the squeeze on its servers as fans snapped up early-bird tickets. "We can see this trend getting stronger by how fast we've achieved certain milestones," UMF's Director of Business affairs, Adam Russakoff, added.This without as much as a press release or single ad taken out...all that UMF organizers needed to do was send an email blast and post on their Facebook page. Around 165,000 are expected in 2012 to hit the spring break-like dance music festival over three days in March. STORY:Electric Daisy Carnival's Tainted Past But it's not just festivals attracting fans at a record clip.Less reported than the hundreds of thousands that turn up at annual blowouts such as Ultra and EDC are the countless mid-sized shows at venues which typically host bands that take place from Atlanta to Chicago by DJs most Americans have never heard of. Bassnectar sold 21,000 tickets over two nights at Verizon Wireless at Encore Park in Atlanta last month in a co-headline with Pretty Lights. Avicii has sold around 9000 tickets so far for an 11/18 gig in Washington D.C. Swedish House Mafia sold out their forthcoming December Madison Square Garden engagement in less than 10 minutes during a September pre-sale (around 15,000 will attend the sold out show). On Nov. 26, promoters in Washington D.C are expecting around 15,000 at RFK stadium for an event featuring France's Martin Solveig (who recently cracked the U.S. pop charts with his "Hello," which peaked at No. 19 on the Billboard Hot 100), Moby, Armand Van Helden and others simply called "Fall Massive." In Los Angeles, one venue co-owner remodeled his entire club to better serve dance music fans in addition to the Music Box's busy weekly schedule serving rock fans at traditional live gigs, which sell slower and are less profitable (no VIP "table service" at an indie rock concert)."It's amazing what's happening," says Kobi Danan of Hollywood's Music Box."The minute we put the tickets on sale for some of these [electronic] artists they sell out...we don't event have to spend any money advertising or marketing on acts like Nero," he said, adding that he does "eight times the business" at the bar on a dance music night versus a typical rock or rap gig where fans leave as soon as the show is over. According to the co-owner and talent booker, it wasn't like this just two years ago.Back then, he "paid a small fracture" of the kind of guarantees The Music Box must cough up today to land a hot name such as Afrojack, which the club recently did."It wasn't as popular as it is now," he says of electronic music."The demand in this market is so high it's almost hard to keep tickets [in stock]." An emerging trend over the past few years is bigger DJs who can sell thousands of tickets at arena shows doing high-ticket-price one offs at clubs such as The Music Box and Playhouse in Hollywood ($100 per ticket entry) or multiple night stands at mid-sized venues, as Tiesto did at his three-night stand at the Shrine Auditorium. As 2012 approaches, it's not just big names like Tiesto who are ready to do the kind of numbers the Dutchman did in 2010 and 2011, either. "What's interesting to us is how quickly this is exploding," says Huston Powell, an Austin-based promoter at C3 Presents, which produces the increasingly dance-heavy Lollapalooza annually. Adds WME agent Joel Zimmerman, who helped put together this year's Identity Festival, a summer tour featuring some of dance music's ascendant names, and whose agency represents such acts as Axwell, Calvin Harris and Kaskade: "The number of big DJs on the rise that can do this kind of business now is substantial. It's hitting a lot of different people." WME isn't the only agency in L.A. making moves in electronic music circles."After a vibrant underground following for decades, electronic music is now viewed as a legitimate art form," says Josh Humiston, partner and co-head of concerts at APA. "We continue to focus on growing this division," said the agent, who recently landed Paul Oakenfold as a client for the agency's growing department. Powell has seen growth of a different kind at his own company over the past year, as he and co-workers found themselves shocked at the explosive sales in the Midwest at some of their EDM shows."We started to see all these DJs develop a following in the Chicago area so we booked Deadmau5 show at the Congress Theater last year," Powell said.The response was so great they immediately secured the DJ-producer for a series of 2011 shows in the Windy City."We did 21,000 tickets in three plays over five months in Chicago," he continued."We could have done more." So what does the promoter attribute the large ticket sales, surprising to almost all industry watchers?Social media, in part."They have this open dialog with their fans, more than rock bands," he said of DJs that boast formidable Facebook and Twitter followings. "They just tell their people they're coming and the fans come." With new hotly tipped artists from France's Madeon to Sweden's Dada Life on the rise this winter, get ready for even more DJs to amass audiences set to surprise promoters, fans and even the artists themselves in 2012."There's a whole wave coming," said Powell. Related Topics David Guetta Paris Hilton Live Nation Entertainment Tisto Electric Daisy Carnival APA William Morris Endeavor

TV Ratings: 'Glee' Falls six percent, 'Body of Proof' and 'Raising Hope' Rise

Adam Rose/FOX CBS, lower in the earlier week's season levels, still won Tuesday evening. The network averaged a 3.2 rating among grownups 18-49 and 15.4 million among audiences. Getting a 4. inside the demo and basically a notch under 20 million in general audience, NCIS gave probably the most effective performance connected having a broadcast through the evening. Glee dropped six percent, two tenths from the point, in grownups 18-49 for Fox, lower with a 2.9. The series released modest gains in audiences, however, around 7.millions of within the last outing. New Girl also acquired in audiences (6.9 million), remaining tight inside a 3.5 in grownups 18-49. Raising Hope enhanced for your second week running, moving up to 2.2 rating an average audience of 4.8 million. PHOTOS: Fall TV Dying Pool: Which New Shows Will Probably Be Canceled? The Dwts semifinals results completed pretty much as good as the other day, posting a few.7 inside the demo and 14.96 million audiences. Comedies Last Guy Standing and Guy Up! were also on componen while using previous days, producing a specific 2.6 and 1.7 in grownups 18-49, while drama Body of Proof (sidelined the other day for just about any news special) returned tabs on a few.1 plus an average audience of 9.8 million. NBC's Finest Loser dropped three tenths from the point lower with a 2.one out of grownups 18-49, because the 10:00 p.m. showing of Motherhood wound up just one tenth with a 1.9. 90210 and Ringer both attracted b .7 for your CW. Both series released strong showings in average audiences, with Ringer getting into the greatest audience since the the other day of September and 90210 its finest all season. CBS -- 3.2 · NCIS: 19.9 million, 4. · NCIS: LA: 15. million, 3.3 · Memorable: 11.2 million, 2.4 Fox -- 2.9 · Glee: 7.millions of, 2.9 · New Girl: 6.9 million, 3.5 · Raising Hope: 4.8 million, 2.2 ABC -- 2.3 · Last Guy Standing: 8.97 million, 2.6 · Guy Up!: 6.3 million, 1.7 · Dwts results: 14.96 million, 2.7 · Body of Proof: 9.8 million, 2.1 NBC -- 2. · The Finest Loser: 6.2 million, 2.1 · Motherhood: 4.96 million, 1.9 The CW -- .7 · 90210: 1.6 000 0000, .7 · Ringer: 1.9 million, .7 TV Ratings

Steven Spielberg, Jeffrey Katzenberg Support Wendy Greuel For L.A. Mayor

If the involves local La politics, nearly all high-level Hollywood typically takes a hands-off position, nevertheless the old-fashioned tie still counts-during the entertainment industry. PHOTOS: Box Office Politics: The Flicks and Stars Dems Versus. GOP-ers Love (and Prefer to Hate) Monday, City Controller and 2012 mayoral hopeful Wendy Greuel, a onetime DreamWorks SKG executive, released instructions announcing that her campaign has guaranteed the endorsement-and fund-raising support-of her former companies, Democratic heavyweights Steven Spielberg, Jeffrey Katzenberg, David Geffen. The DreamWorks troika notes inside the letter-a replica that was given to The Hollywood Reporter-that Greuel "brings for the job the identical vitality, insight and determination " she shown while being an expert at DreamWorks SKG from 1997 to 2002. PHOTOS: 10 Hollywood Players That Will Really really make a difference inside the 2012 Elections In line with the letter: "If selected, Wendy would be the first lady for everybody as Mayor of los angeles. . .Throughout the La City Council, she received kudos for simplifying the City's Business Tax Code, safeguarding the climate and open spaces, and really was named the 'Pothole Full' on her behalf tireless efforts regarding her elements to correct our streets. . .As City Controller, Wendy has fought against against to correct our City's extended-term financial issues which is talking to create agencies like the DWP more efficient and accountable for the public." Possibly most important, Spielberg, Katzenberg and Geffen invite others to participate them "in supporting her campaign while using maximum (legally) allowable contribution of $1,000 per person." Hollywood's deep pocket contributor have extended been a type of Ultimate Goal for LA's local people in politics, though individuals funds commonly has ongoing to become tantalizingly from achieve, since the industry focuses its giving on national candidates and issues. If Greuel could use her DreamWorks link to break by using their indifference, it'll be a considerable boost on her behalf candidacy. Related Subjects Jeffrey Katzenberg Steven Spielberg David Geffen Politics

Andy Samberg, NBC Sued Over 'Saturday Night Live' Sketch Featuring Rihanna (Video)

NBC Saturday Night Live is facing allegations it stole material for two sketches, including an Emmy Award-nominated short featuring Andy Samberg and pop star Rihanna. In a lawsuit filed in NY federal court on Thursday, Aleric Banks (aka "Rick tha Ruler") and Monique Hines say they created the music that would form the basis of two skits on SNL, including "Shy Ronnie" and "Like A Boss." The two plaintiffs are a St. Louis-based production team. According to an interview given to a local press outlet earlier this year, Banks and Hines had a mutual connection with Samberg and submitted some tracks as the comedian prepared to release his first album as a member of the band The Lonely Island. PHOTOS: 'SNL' Stars Salute Kennedy Center Honoree Will Ferrell Samberg's band recorded the tracks, allegedly taking the plaintiffs' copyrighted master recordings "verbatim," and added lyrics. About a year later, after Lonely Island's album came out, Samberg reprised a couple of the songs on SNL.On April 4, 2009, Samberg and actor Seth Rogen performed "Like A Boss." On December 5, 2009, Samberg and Rihanna performed "Shy Ronnie," a sketch about a bashful musician who has trouble speaking up when it's his time to throw out a verse. (See video below.) Initially, Banks and Hines were thrilled at the breakthrough, especially after "Shy Ronnie" was nominated for an Emmy for Outstanding Original Music and Lyrics. Now, after failing to receive claimed credit and compensation, the two have filed a lawsuit saying that the music wasn't really original. VIDEO: Charlie Day-Hosted 'SNL' Draws Best Ratings in More Than a Month The plaintiffs say that before the release of Samberg's album and skits, a Universal Music Group subsidiary label sent them a "producer declaration" form. Banks filled it out by stating that as the writer and producer of "Like A Boss," he was a 50 percent owner of the copyright. Banks says he got a response letter claiming that he had entered into an agreement with Lonely Island that only entitled him to a 25 percent copyright interest. Nevertheless, Banks says he hasn't received any producer royalties nor any profits from SNL's exploitation of his music. NBC Universal, Samberg, The Lonely Island, and Universal Republic Records are now being sued for willful copyright infringement and unjust enrichment. NBCU says it has no comment. Here's SNL's "Shy Ronnie" featuring Rihanna... E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Andy Samberg Rihanna Saturday Night Live

Carol Robinson Peete Sounds Off on Kim Kardashian's Divorce: Kris Humphries 'Got Used'

It has been several several days since the Talk fans are actually capable of hear Carol Robinson Peete appear off round the day's hot subjects. But, that doesn't mean she doesn't have something to convey if the requires the large celebrity news every week: Kim Kardashian's quickie divorce filing from Kris Humphries. As well as the actress doesn't have a pity party for your E! reality star.our editor recommendsHolly Robinson Peete Talks about Her Surprise Axing From 'The Talk' What Went Wrong With Show'The Talk's' Carol Robinson Peete Lands 'Mike & Molly' RoleKris Jenner Under Fire for 'Good Morning America' 'Indian Giver' RemarkKim Kardashian's Divorce Exposes Her Ambition for Fame and funds, Say Brand Experts (Analysis)Related Subjects•Kim Kardashian PHOTOS: 19 of Hollywood's All-Time Least Close ties "In case your sex tape doesn't ruin your brand, how can the divorce ruin your brand?" Peete, 47, notifies The Hollywood Reporterabout whether she thought the not successful marriage would damage Kardashian's image. "It won't ruin her brand. It'll be ideal for her brand. We are not thinking about her as this love-struck puppy. Nobody ever considered of the. They just preferred to go to a marriage and so they seen." "The conversation that, well, America is upset along with her, because she's no respect for your covenant of marriage is silly," she continues. "This really is about money, and fame, and many types of people things. That is her brand. In my opinion it'll be totally fine. It's the next chapter. It's who's she rising to now next." PHOTOS: Inside Kardashian Corporation. Peete, that's been married to former Nfl player, Rodney Peete, since 1995, notifies THR they found herself investing time with a few professional basketball players in addition to their partners over Halloween and so they had plenty to express from the divorce news. "That's all people males can discuss," she states. "As well as the gist from this was they just felt so sorry for him, since they know he got so taken up in stuff. Which I simply feel below componen that no an individual's talking about him, I really do. I'm terrible for the boy. They were proclaiming that when you're recognized for marriage to anyone who has a sex tape out, that was all they could discuss, and the way that's not sexy immediately.Inch "I'm terrible for the boy," Peete, who begins her multiple episode guest role Monday on CBS's Mike & Molly, is constantly on the express. "In my opinion he really loves her and he's youthful and that he is not familiar with that type of world. In my opinion he got used, I really do." PHOTOS: Hollywood's Top Earners Humphries released a disagreement immediately after the divorce filing was confirmed saying it needed him suddenly that they'd would rather still target the wedding. Can you accept Peete? Exactly what are your opinions round the hands Kris Humphries was labored within the relationship with Kim Kardashian? Reveal inside the comments section below. Email: Jethro.Nededog@thr.com Twitter:@TheRealJethro Related Subjects Carol Robinson Peete Kim Kardashian Kris Humphries

CBS Buys Adaptation Of Hit Israeli Comedy Existence Is not Everything

CBS has bought Existence Isn’t Everything, a comedy in line with the effective Israeli sitcom of the identical title (Hahaim Ze Lo Hakol in Hebrew). Inside a first to have an adaptation of the Israeli format, the creator from the original series, Daniel Lappin, will engage in the writing from the U.S. version. Lappin will co-write the script for CBS with comedy veteran Mike Sikowitz (Buddies). The new sony Pictures TV, where Sikowitz is under a general deal, will produce with Reshet, the Israeli company whose Funnel 2 broadcasts the initial series. Sikowitz has already been running a business with CBS and The new sony TV – he can serve as a professional producer on Rules Of Engagement. Noa Tishby, who introduced towards the U.S. In Treatment, the Israeli series that sparked U.S. systems’ curiosity about formats in the Middle Eastern country, shepherded Existence Isn’t Everything‘s visit to Hollywood. She's executive creating the project with Sikowitz, Lappin as well as an executive from Reshet. The multi-camera Existence Isn’t Things are in regards to a middle-aged, lately divorced couple who have been bad at marriage and uncover they are really bad at divorce – untidy, can’t help when you are involved with one anothers’ lives, still have sexual intercourse, etc. “It is really a romantic comedy in regards to a couple who're divorced but cant get free from one anothers lives,” Lappin stated. Added Tishby, “you can’t divorce your boyfriend or girlfriend.” She known as the initial a “classic, perfectly written sitcom. There's this type of high divorce rate within the U.S., with no a person in a position to capture the funny side of divorce.” Lappin authored the pilot for that original series in 1997 loosely according to his existence — he was dealing with separation and then divorce. “The show adopted the arc of my existence,” he stated. He authored the very first season by themself, became a member of with a writing staff in the second season on. Existence Isn’t Things are Israel’s most effective sitcom. It created 150 episodes and lately wrapped its ninth and final season on Funnel 2 to large rankings. It's averaged 22 audience share throughout its nine seasons, with 33% of Israeli audiences tuning set for the series finale. Below is really a clip in the show with British subtitles. CAA reps the format, Reshet, Lappin and Tishby. Sikowitz is by using ICM. This is actually the second broadcast project according to an Israeli format this development season together with mystery drama Timrot Ashan, also known as Support beams of Smoke, at NBC. Furthermore, Cinemax is developing an adaptation of some other Israeli mystery drama, The Naked Truth, with Clyde Phillips. During the last couple of years, there has been four U.S. scripted series according to Israeli formats: HBOs In Treatment, CBS The Ex List, Foxs Traffic Light and Showtimes Homeland.

'Boots' takes Friday B.O.

Knowing by early Friday grosses, "Puss in Boots" will need the most effective devote the weekend box office. Experts the Vital-Dreamworks Animation 3d pic should gross inside the mid-thirties. For that way Friday-evening crowds emerge, though, the film frequently see slightly greater earnings near to $38 million. For comparative amounts, "Puss in Boots" was monitoring below DWA's 2010 fall entry "Megamind," which opened up as much as $46 million through the weekend of November. 5. 20th Century Fox's "With Time,Inch by getting an expected three-day perf of $12 million to $13 million, should beat FilmDistrict's "Rum Diary." B.O. experts expect The Actor-kaira Pitt-toplined "Diary" to gross between $6 000 0000 and $8 million -- no surprise due to the film's limited target demo. Some monitoring services in the 2009 week suggested the pic could earn between $8 million and $11 million, good recognition from the Actor-kaira Pitt. Contact Rachel Abrams at Rachel.Abrams@variety.com

City Center to Reopen After $56 Million Spruce-Up

NY (AP) For one of the oldest major performing arts venues in NY one that's hosted many of the world's premier artists for nearly 70 years City Center seems to have had something of a self-esteem problem.It seated over 2,700 people in its main theater, but many of those seats were uncomfortable, the sightlines less than desirable. The lobby felt small and crowded. The beautiful vaulted ceiling in the upstairs lobby was dulled with layers of wear and dust.The distinctive neo-Moorish facade, a city landmark, was barely visible from the street because of dark green awnings in front of it. And you couldn't see the building, located on West 55th Street, from either nearby corner.In short, though it's only a block from the more famous Carnegie Hall, likely no one ever joked, "How do you get to City Center?" (Practice, practice, practice.)But all this is changing.NY City Center, proudly inaugurated by Mayor Fiorello LaGuardia in 1943, is being reintroduced this week following a renovation to the tune of $56 million. Old layers of paint have been scraped away with razor blades, original color schemes restored. Seats have been ripped out, replaced with plusher, wider models. Better sloping has improved sightlines.Outside, those nondescript green awnings have been removed, replaced by a marquee that shows off the sandstone facade. And hello, self-esteem! illuminated signs are now visible from Sixth and Seventh avenues in Midtown Manhattan."This place has been around a long time, and was truly getting a little dreary," its president and CEO, Arlene Shuler, said in an interview last week as workers around her applied the finishing touches. "People would come here for performances, but not know they were coming to City Center. We felt it was very important to be more competitive in this environment."The building known now as City Center actually began as a home to the Ancient Arabic Order of the Nobles of the Mystic Shrine, otherwise known as the Shriners. "They'd been using Carnegie Hall as their meeting house, but Carnegie Hall didn't like all the cigar smoke. So they built their own place a block away," said Duncan Hazard, the chief architect on the job.In 1943, though, the Shriners could no longer keep it and the building was headed for demolition, until LaGuardia and the city council took it over and turned it into an arts center. (It's still owned by the city, which was the major donor to the capital campaign that paid for the renovation.) At the opening, LaGuardia himself took the baton to conduct the NY Philharmonic in the national anthem. Mayor Michael Bloomberg is scheduled to conduct, as well, at a star-studded reopening Tuesday.City Center was a major home for NY culture for decades early on, as an alternative to Broadway theater, and the original home of NY City Ballet and NY City Opera. When those companies later moved to the newly built Lincoln Center, it became underused. It was refocused as a major dance center, and today is home to the Alvin Ailey American Dance Theater which recently signed a new 10-year deal and to American Ballet Theatre's fall season. It brings in countless visiting troupes, from the Kirov to flamenco performers to tango groups.It also hosts the extremely popular Fall for Dance Festival, a 10-day smorgasbord of global dance that sold out in five hours this year (it begins later this week) and the equally popular Encores! musical theater series. In a smaller theater, it houses the Manhattan Theater Club.One recent loss was the Paul Taylor Dance Company, which recently announced a move to Lincoln Center's David H. Koch Theater, newly vacated by NY City Opera.Shuler hopes they will return, and that the renovation will draw others, of course. Leading a reporter around the new digs, she and Hazard began on the stage now refitted with a sprung floor, kinder to dancers' feet. Out in the audience, a worker in a cherry-picker was cleaning the domed ceiling with what looked like a giant mop."Over a few unfortunate restorations, the color had become an unappealing gray-white," Hazard said of the theater's Moorish-style ceiling and walls. "We did some archaeology of the paint finishes, and found out the original 1923 color scheme." Now, there are vivid blues and greens.There's also a spiffy new lighting booth. But the first challenge was to improve those sightlines. Undesirable seats were ripped out, bringing the seat count down to 2,250 from over 2,700. Rows were also resloped, adding to better visibility, and staggered. Seats were widened, too, with better cushioning for the derriere.The renovation, which was completed over two summers to minimize disruption, also focused on the inner and outer lobbies. Patrons now enter from the sides of the auditorium, creating more lobby space and improving audience flow.The outer lobby now has a bar, and paned glass doors so one can see in from the street. And for all the faithful reconstruction, a contemporary touch has found its way in: Large video monitors in the inner lobby, which will host three video installations per year.There are added elevators, and even the restrooms have been redone with an eye to Moorish style. (And cast and crew now have their own restroom on stage level, something they were lacking.)Shuler and Hazard seemed especially proud of the Grand Tier lobby, a level up from the orchestra, with its colorfully painted vaulted ceiling and the desert-themed murals on the walls.Restoring the ceiling, workers with razor blades scraped off layers of paint and shellac for four to five months. "It was a real labor of love," said Shuler.On the other hand, the upstairs lobby floor had been buffed with so much love last week that it was dangerously slippery underfoot. That will be adjusted, Shuler said.Back in the theater, sitting in the best Grand Tier seats, Shuler said she believed they were the best seats in the city, bar none they hang over row H, bringing one close to the stage, yet above it.Hopefully, she said, more people will know about them now."We think people are going to be aware now that they're coming to City Center," Shuler said.___If You Go... NY CITY CENTER: 130 W. 55th St., between Sixth and Seventh Avenues; http://nycitycenter.org or 212-581-1212. Easily reached by subway and bus (directions on the website.)WHAT'S ON: All offerings on City Center's Mainstage and at its two smaller stages are listed on its website. After the Oct. 25 reopening gala, the sold-out Fall for Dance Festival runs Oct. 27-Nov. 6, featuring five wildly diverse dance programs. Other upcoming highlights:American Ballet Theatre, Nov. 8-13."Richard II" from the Pearl Theatre Company, Nov. 8-Dec. 24.Alvin Ailey American Dance Theater, Nov. 30-Jan. 1.WHERE TO EAT: The City Center website lists 30 restaurants nearby, including Molyvos (Greek), the Russian Tea Room and Osteria del Circo (Italian). For quick snacks, try Dean & Deluca, 156 W. 56th St.Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed. By Jocelyn Noveck October 24, 2011 PHOTO CREDIT AP Photo/Mark Lennihan NY (AP) For one of the oldest major performing arts venues in NY one that's hosted many of the world's premier artists for nearly 70 years City Center seems to have had something of a self-esteem problem.It seated over 2,700 people in its main theater, but many of those seats were uncomfortable, the sightlines less than desirable. The lobby felt small and crowded. The beautiful vaulted ceiling in the upstairs lobby was dulled with layers of wear and dust.The distinctive neo-Moorish facade, a city landmark, was barely visible from the street because of dark green awnings in front of it. And you couldn't see the building, located on West 55th Street, from either nearby corner.In short, though it's only a block from the more famous Carnegie Hall, likely no one ever joked, "How do you get to City Center?" (Practice, practice, practice.)But all this is changing.NY City Center, proudly inaugurated by Mayor Fiorello LaGuardia in 1943, is being reintroduced this week following a renovation to the tune of $56 million. Old layers of paint have been scraped away with razor blades, original color schemes restored. Seats have been ripped out, replaced with plusher, wider models. Better sloping has improved sightlines.Outside, those nondescript green awnings have been removed, replaced by a marquee that shows off the sandstone facade. And hello, self-esteem! illuminated signs are now visible from Sixth and Seventh avenues in Midtown Manhattan."This place has been around a long time, and was truly getting a little dreary," its president and CEO, Arlene Shuler, said in an interview last week as workers around her applied the finishing touches. "People would come here for performances, but not know they were coming to City Center. We felt it was very important to be more competitive in this environment."The building known now as City Center actually began as a home to the Ancient Arabic Order of the Nobles of the Mystic Shrine, otherwise known as the Shriners. "They'd been using Carnegie Hall as their meeting house, but Carnegie Hall didn't like all the cigar smoke. So they built their own place a block away," said Duncan Hazard, the chief architect on the job.In 1943, though, the Shriners could no longer keep it and the building was headed for demolition, until LaGuardia and the city council took it over and turned it into an arts center. (It's still owned by the city, which was the major donor to the capital campaign that paid for the renovation.) At the opening, LaGuardia himself took the baton to conduct the NY Philharmonic in the national anthem. Mayor Michael Bloomberg is scheduled to conduct, as well, at a star-studded reopening Tuesday.City Center was a major home for NY culture for decades early on, as an alternative to Broadway theater, and the original home of NY City Ballet and NY City Opera. When those companies later moved to the newly built Lincoln Center, it became underused. It was refocused as a major dance center, and today is home to the Alvin Ailey American Dance Theater which recently signed a new 10-year deal and to American Ballet Theatre's fall season. It brings in countless visiting troupes, from the Kirov to flamenco performers to tango groups.It also hosts the extremely popular Fall for Dance Festival, a 10-day smorgasbord of global dance that sold out in five hours this year (it begins later this week) and the equally popular Encores! musical theater series. In a smaller theater, it houses the Manhattan Theater Club.One recent loss was the Paul Taylor Dance Company, which recently announced a move to Lincoln Center's David H. Koch Theater, newly vacated by NY City Opera.Shuler hopes they will return, and that the renovation will draw others, of course. Leading a reporter around the new digs, she and Hazard began on the stage now refitted with a sprung floor, kinder to dancers' feet. Out in the audience, a worker in a cherry-picker was cleaning the domed ceiling with what looked like a giant mop."Over a few unfortunate restorations, the color had become an unappealing gray-white," Hazard said of the theater's Moorish-style ceiling and walls. "We did some archaeology of the paint finishes, and found out the original 1923 color scheme." Now, there are vivid blues and greens.There's also a spiffy new lighting booth. But the first challenge was to improve those sightlines. Undesirable seats were ripped out, bringing the seat count down to 2,250 from over 2,700. Rows were also resloped, adding to better visibility, and staggered. Seats were widened, too, with better cushioning for the derriere.The renovation, which was completed over two summers to minimize disruption, also focused on the inner and outer lobbies. Patrons now enter from the sides of the auditorium, creating more lobby space and improving audience flow.The outer lobby now has a bar, and paned glass doors so one can see in from the street. And for all the faithful reconstruction, a contemporary touch has found its way in: Large video monitors in the inner lobby, which will host three video installations per year.There are added elevators, and even the restrooms have been redone with an eye to Moorish style. (And cast and crew now have their own restroom on stage level, something they were lacking.)Shuler and Hazard seemed especially proud of the Grand Tier lobby, a level up from the orchestra, with its colorfully painted vaulted ceiling and the desert-themed murals on the walls.Restoring the ceiling, workers with razor blades scraped off layers of paint and shellac for four to five months. "It was a real labor of love," said Shuler.On the other hand, the upstairs lobby floor had been buffed with so much love last week that it was dangerously slippery underfoot. That will be adjusted, Shuler said.Back in the theater, sitting in the best Grand Tier seats, Shuler said she believed they were the best seats in the city, bar none they hang over row H, bringing one close to the stage, yet above it.Hopefully, she said, more people will know about them now."We think people are going to be aware now that they're coming to City Center," Shuler said.___If You Go... NY CITY CENTER: 130 W. 55th St., between Sixth and Seventh Avenues; http://nycitycenter.org or 212-581-1212. Easily reached by subway and bus (directions on the website.)WHAT'S ON: All offerings on City Center's Mainstage and at its two smaller stages are listed on its website. After the Oct. 25 reopening gala, the sold-out Fall for Dance Festival runs Oct. 27-Nov. 6, featuring five wildly diverse dance programs. Other upcoming highlights:American Ballet Theatre, Nov. 8-13."Richard II" from the Pearl Theatre Company, Nov. 8-Dec. 24.Alvin Ailey American Dance Theater, Nov. 30-Jan. 1.WHERE TO EAT: The City Center website lists 30 restaurants nearby, including Molyvos (Greek), the Russian Tea Room and Osteria del Circo (Italian). For quick snacks, try Dean & Deluca, 156 W. 56th St.Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.