VIDEO: Top Chef's First Champion Harold Makes His Favorite Holiday Hangover Dish

Harold Dieterle The holiday season may be going to an in depth, but we've got a perfect recipe to combat that New Year's Eve hangover. Inside the video below, Harold Dieterle, the first champion of Top Chef, prepares his favorite hangover recipe: Cornflake crusted French toast drenched in egg nog getting a rum raisin walnut syrup. For further inside our Holiday Eats series mind here.

5 Best Favorite Christmas Movie Toys

Lots of classic Christmas movies have toys that everyone wants. That toy might not be also real, but that didn't stop us from imaging that in some manner Santa brings us the gift that really didn't exist. So as we open our presents relating to this Christmas morning, we now have made all of the lots of the most popular Christmas movie toys. Turbo Guy The toy every youthful boy wanted gave Arnold Schwarzenegger one of the worst last-minute holiday shopping encounters ever in "Jingle Completely," nevertheless it was totally useful. Turbo Guy has precisely what a great action figure should have, however, many importantly, he's a jet pack. Being the truly amazing father Arnie was (in this particular movie, no less than), Arnold faced offered by Sinbad and attracted out all the stops to have the ability to bring the awesome action figure home. Talk Boy Besides this Christmas toy ensure it is easy to record every word you hear surrounding you, furthermore, it's speed control, that could prove helpful. If you undertake like Kevin McCallister in "Home Alone 2" did, you need to use your Talk Boy to achieve a place within the Plaza and among people little fridges you have to open getting a vital. Bank card? You initially first got it. The Nut Cracker The first Christmas gift. He may not look like anything special. All he may do throughout your entire day is crack open some nuts, but merely delay until help with sleep. You with thankful you've this individual working for you when the multiple-headed rat king appears in your house. This is where the nut cracker will come in most handy. Keep in mind that. Rugby Tiger In 1986, when Jim Henson produced the primary one-hour special, "The Christmas Toy," Rugby Tiger was the present to acquire. This plush tiger found themselves in the pickle twelve months later on he found his owner, Jamie. He was afraid he'd lose the romance and attention of his owner, so he devised an idea being the prize of Christmas again. Crafty and affectionate, an excellent combination. Red-colored-colored Ryder BB Gun It should be mentioned. You will probably shoot your abilities out driving under the influence this toy for Christmas. All Ralphie in "A Christmas Story" wanted will be a BB gun, but his mother had her concerns about his eyes. Ultimately, Ralphie got his gun, while not without learning a lesson. He didn't shot his eye out, but he gained kids around the globe become more careful utilizing their peepers.

TMG shelves up worldwide sales

BERLIN -- Entertainment giant Tele Munchen Group has obtained a slew of sales because of its in-house and licensed productions, including "Moby Dick" and "Haven." TMG's sales arm TM Intl. offered "Moby Dick," which stars William Hurt and Charlie Cox, to Cinemax in Belgium, Carmen Video for Russia and also the Commonwealth of Independent States, and Medallion Media in Japan. The $25 million adaptation from the Herman Melville classic opened recently on Germany's RTL which summer time on Starz/Encore within the U.S. TM Intl. also inked numerous deals for TMG's British-language miniseries modified from Rosamunde Pilcher's best-selling romance books: "Shades of affectionInch visited Soulmedia for Scandinavia and Antena 3 in The country the "Four Seasons" collection was licensed to Universal around australia, together with two TV movies in line with the books of Pilcher's boy Robin Pilcher, "A Danger Worth Taking" and "Beginning Over." The very first season of eOne's mystery series "Haven," according to Stephen King's "The Colorado Kid," offered to Italian pubcaster RAI and Leopolis for that CIS. Universal Systems, which lately restored the show for any third season, airs the series on all Syfy channels worldwide. TM Intl. also closed a library bundle with DT Prods. for that CIS which includes such high-profile game titles as "Terminator 2," "Universal Soldier" and "Fundamental Instinct." Contact Erectile dysfunction Meza at staff@variety.com

Janusz Kaminski on Shooting War Horse, Avoiding 3-D, and Those Spielberg Close-Ups

For most of the last 18 years as Steven Spielberg’s go-to cinematographer, Janusz Kaminski has held one of the sweetest creative gigs in Hollywood. The post has netted the Polish D.P. two Academy Awards (for Schindler’s List and Saving Private Ryan, plus an additional nomination for Amistad) and credits on some of the most commercially successful films of the last generation, but more than that, it has made Kaminski’s eye the one through which audiences witness Spielberg’s influential vision of the past, present and future. It’s a huge responsibility. It’s also a singular opportunity. Their latest film together, War Horse, returns Spielberg and Kaminski to the scope of those epic, Oscar-winning collaborations, adapting Michael Morpurgo’s novel of a young man (Jeremy Irvine, in his film debut) and his thoroughbred separated by duty in World War I. It’s masterful filmmaking, for better or worse; the battle scenes are extraordinary, and the movie’s sentimentality is less of a shortcoming than an aesthetically achieved device — one that Kaminski’s lens has helped Spielberg refine over more than a dozen films. The cinematographer recently spoke with Movieline about the development of their shared language, the end of film as we know it, why he’s skipped 3-D so far, and what really makes a Spielberg close-up. What was the first Steven Spielberg film you remember seeing? I know it was The Sugarland Express. I was still in Poland at that point. And then he made Duel. That’s probably it, because I left Poland in 1980. Sugarland Express was probably 1973 or ‘75. And then Duel came right after. What was your reaction to them? I liked Sugarland Express simply because it reflected the America that I knew from the movies. It had this raw quality — the freedom, the quirkiness, full of weird people. And my perception of America was based on American movies, you know? But strangely… Well, actually, not strangely. It makes perfect sense: The censorship in Poland allowed the great movies made in the States to be available for Polish audiences, because at that time, America was questioning its social make-up through cinema. It evaluated the social make-up and would frequently become critical of that society. So the Polish censorship embraced that, because in their mind, they were showing the decadent, immoral America. But for us, it was just the land of freedom. We wanted to watch those movies just for the whole idea that if you could question the government, then you were already free. Among those films that came over to Poland, which were the ones that you think most inspired you to pursue filmmaking and cinematography? I started as a filmmaker, and then I chose cinematography for various reasons. But I think Vanishing Point was one of those films. I liked the movies that reflect the rebellion of the individual against the system, you know? And I guess that’s why I left Poland as well. I’m still like that: I still want to rebel against the system and those things. It’s a little bit different these days — maybe just through my work — but I’m still attracted to those movies. So after 15 films working with Spielberg, what challenges remain? Apart from the films themselves — how does that relationship evolve? It evolves just because each of those films is a different story. You get a different screenwriters, different actors, different this or that. And the challenges are great, because the physical aspects of production are always challenging — simply to get through the day. You have to provide a quality of work that’s just right, and you have to make the day. That’s always challenging. And the movies are getting bigger and more complicated, especially the ones that are supposed to entertain. They are just getting bigger. When I did Minority Report, I felt this was the biggest movie I’ve ever done. And then, of course, we did War of the Worlds, which was even bigger. And then Indiana Jones [and the Kingdom of the Crystal Skull], which was even bigger. Audiences’ expectations are such, you know? So doing a movie like War Horse, which was big but not really driven by action so much as the story, was very rewarding. And we’re doing Lincoln right now, which is virtually no action. It’s all about performance. So right there, you have two very much different films. That’s what makes it exciting — the subject matter he’s interested in. What kind of shorthand have you two developed to navigate those challenges from film to film? We kind of know what’s going to happen. You kind of know what the shots are going to be. You kind of know what to expect. There’s no mystery. If something looks really good to me, I know that he’s going to see it as well, and we’re going to go for it. Particularly the angles: If we walk into this room, obviously it’s very logical to shoot this direction [against a window overlooking Manhattan], because it’s great. If you didn’t have money, I’d shoot against this wall because you can control it — you can control the environment. So there are certain things. You just know how the movie’s made. And also, you expect to know that we’ll see certain shots everywhere. We have to accommodate that desire of the director. And also be accommodating of actors so that the work becomes better — so that you’re not taking too much time from the actors and the director. The time is always a big issue; every 10 or 15 minutes you take on a set, that adds up over the course of a day to one or two hours of production time. You’re really robbing the ability of the director and actors to do better work. So that gets more refined. There’s no guessing. We know what the work will be. Beyond the films getting bigger, the technology changes. How does the preponderance of CG or the advance of 3-D affect your craft, if at all? It doesn’t, because I haven’t done a digital movie, and I haven’t done 3-D. We still work with film, and we still work flat. I think that 3-D, apparently, was going to be something that was very popular — and it was — but now it’s kind of winding down a bit. The digital will be a reality for us very soon because will be no more film. There will simply be no film emulsion. Kodak is going out of business. So we’ll end up shooting digital, and the quality of the digital becomes higher and higher. It will never be compared to film; it’s just a different vocabulary, a different language, different aesthetics. And it shouldn’t be. It’s a different palette, and that’s fine. Does 3-D turn you off? I haven’t done it. I haven’t seen a movie in 3-D. You haven’t seen a movie in 3-D? No Avatar? No. No Hugo? No, not yet. I’d like to see Hugo because I’m sure that Robert Richardson’s work will be spectacular. But I just… I don’t know. I’m not drawn to those movies — the movies that are made in 3-D. Not because of the form, but just the story. You know? Not into it — not into those action films, I guess. But if we do one, I’ll see it! Until then… Until then! So Spielberg has a trademark shot — that tracking-in close-up that he does — that has carried over to seemingly all of his films over the decades. It’s a very specific thing; a lot of filmmakers use that shot, but there’s something a hair different about Spielberg’s. What is it? I think they’re emotions. He just does it at the right time, when he wants to evoke those emotions. And he knows so much about emotions — human emotions. I think that’s why his movies are so successful: because we can all identify with those emotions, and we can really clearly see those emotions on the screen. But it’s not just the one shot. It’s a sequence of shots that allows you to make it so much different then. You can imitate his shots, but you can’t imitate every shot. His trademark is also wide shots — especially wide shots where you have explosions or special effects. He likes to give the audience the thing happening in one take, right in front of you without editing. Because the moment you cut, you’re cheating. And audiences don’t realize how cinematography itself affects emotion. It’s so subtle, right? They don’t, sure. Well, they don’t really intellectualize it, but they know when something moves them emotionally. They cannot pinpoint why or who’s responsible for it. But they know the impact of visuals — and when the visuals are impacting them. Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitter.

'Warrior' Q&A Online

Duncan Stewart, director of casting at National Artists Management Company, discusses opening every submission and what he really wants to see inside a headshot. casting Duncan Stewart headshot NY city open distribution Duncan Steward, director of casting, discusses what he wants from an actress inside a general meeting, mainly truth, likability, and insufficient ego. advice casting Duncan Stewart NY city tips Duncan Stewart, director of casting, discusses what he needs from an audition and customary mistakes stars make. advice auditions casting Duncan Stewart NY city Alaine Alldaffer stops working the actual role of the casting direcor. Alaine Alldaffer casting casting director Gray Gardens play stage theater Casting director Alaine Alldaffer discusses casting "Saved" and all sorts of the myths about becoming an actor in NY City. Alaine Alldaffer casting director New york city theatre play saved NY casting director Bernie Telsey describes what stars have to know before walking into an audition. (Part a couple of) Bernie Telsey casting director We spoken with casting director Mark Teschner about focusing on cleaning soap operas. (Part 1 of three) General Hospital Mark Teschner cleaning soap opera NY casting director Bernie Telsey describes how you can give your very best audition. (Part 2 of two) Bernie Telsey casting director We spoken with casting director Mark Teschner about focusing on cleaning soap operas. Only need beautiful people apply? (Part 2 of three) General Hospital Mark Teshner cleaning soap opera We spoken with casting director Mark Teschner about who audition for cleaning soap operas. (Part 3 of three) General Hospital Mark Teschner cleaning soap opera Videos for that Back Stage News & Features section.

Russell Brand Lands Late-Evening Forex Show

First Released: December 15, 2011 2:30 PM EST Credit: Getty Premium La, Calif. -- Caption Russell Brand steps out at BBC Radio One out of London on April 20, 2011 Late-evening will be receiving a dose of British comedy from actor/comedian Russell Brand! Forex introduced on Thursday that Russell will host six half-hour payments of the unscripted as-yet-untitled show before an active audience. The show can give the funnymans unvarnished, unfiltered undertake current occasions, politics and popular culture, the network stated inside a statement to gain access to Hollywood with lots of audience interaction too. I'm so excited Im about to climax, actually I'll place the O into Forex, which spells FOX, that is really the channels real title, the actor/comedian stated inside a statement. Thats the only real factor that worries me about all of this to tell the truth. A minimum of Ill have the ability to possess a Christmas drink with Bill OReilly. Flight from the Conchords producer Troy Burns is joining track of Russell for that series something the network thinks will push the envelope of TV comedy. Were very excited to include Russell Brands bracingly funny, original, and honest voice towards the Forex comedy line-up, Nick Grad, Executive V . P ., Original Programming at Forex stated inside a statement. We anticipate supporting Russell and the partner Troy Millers ambition to strip lower the located comedy format to the most fundamental elements and also to create something daring and unfiltered for that Forex audience. Russells late-evening show is slated to debut in spring 2012. Copyright 2011 by NBC Universal, Corporation. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

10 Live Action Short Films Make Oscar Shortlist

When Jon Cryer's publicist called with word of his first SAG Awards nomination, the Two and a Half Men star wasn't expecting the good news.our editor recommendsSAG Awards Nominations: The Nominees' ReactionsSAG Awards TV: 'Modern Family' Leads Nominations, 'Homeland' SnubbedSAG Awards Nominations: The Complete List "Being that it's been a year of very surprising developments, when I get a call from my publicist at 6 a.m. I really don't want to answer it," Cryer told The Hollywood Reporter on Wednesday after he picked up his first career SAG Awards nomination for outstanding male actor in a comedy. "But this was a good one." STORY: Jon Cryer: I Thought Charlie Sheen Was Going to Die Cryer, who has been battling a cold the past few days, wasn't expecting to receive the recognition from his peers in the category that doesn't distinguish between lead and supporting roles. "I had no reason whatsoever to expect that I would be included in this company. That I was is astounding." With nominations coming the day after news broke that Two and a Half Men co-creator Chuck Lorrenearly quit the CBS hitcom after public battles with the show's former star Charlie Sheen, Cryer said he learned of the news after doing the interview for the story. PHOTOS: SAG Awards Nominees "[Lorre] went through a lot of pain during that time and it was awful to watch," he said. "It was awful to watch because he really considered himself a friend of Charlie's. I remember the day he came into my dressing room and he was practically in tears and said, 'I don't know what to do, something is very wrong with Charlie' and he was begging me to talk to him. Obviously, I did but I don't know what good it did." Cryer was able to play the role of the messenger later Wednesday, when he told Lorre news of not only his mention for Men but also The Big Bang Theory's first comedy ensemble nomination in a text exchange. STORY: Chuck Lorre Nearly Quit 'Two and a Half Men' Because of Charlie Sheen "Chuck hadn't heard about the nominations at all and he texted me to thank me for having given the interview to TV Guide," said Cryer, who wound up congratulating -- and breaking the news of Big Bang Theory's nom -- to Lorre. "He wrote back, 'NICE!!!' " As for plans to celebrate, Cryer will get into the holiday spirit and spend the evening with his family, taking cold medication, having hot chocolate and decorating their newly purchased Christmas tree. Email: Lesley.Goldberg@thr.com; Twitter: @Snoodit RELATED: SAG Awards Nominations: The Complete List PHOTO GALLERY: View Gallery SAG Awards: The Nominees PHOTO GALLERY: View Gallery Chuck Lorre & His TV Empire Related Topics Chuck Lorre Charlie Sheen Jon Cryer Two and a Half Men SAG Awards 2012

Steve Carell Returns to TV! Is Springfield Ready?

Steve Carell Steve Carell is back... in cartoon form. The former Office star will lend his voice to The Simpsons, Entertainment Weekly reports. Carell will portray Dan Gillick, an accountant for mob boss Fat Tony, who must step up when Tony has to serve jury duty. Check out the rest of today's news "He's nervous, and then Fat Tony says that he's got to kill some people and then he's really nervous because he actually wants to do it," executive producer Al Jean reveals. There may be good in Dan, too, though: He also joins Homer's bowling team. Carell's episode is slated to air next fall on Fox. The Simpsons airs Sundays at 8/7c on Fox.

'Game Of Thrones' Season Two Trailer: Cold Winds

In "Game of Thrones," the flamboyant Braavos swordsman Syrio Forel taught his young protg Arya Stark to "see with your eyes" and "hear with your ears." In the case of the brand new "Game of Thrones" season two preview, I'd echo Syrio's wisdom and encourage you to listen very closely. Though there are plenty of beautiful visuals on display worth gawking at, it's the words you're hearing that make this new "Thrones" footage so captivating. Specifically, they're the words of Stannis Baratheon: younger brother of the late King Robert, older brother of self-anointed renegade King Renly, and the man who would sit upon the Iron Throne. "My brother left no trueborn heirs," drones the cool voice of Stannis, played by actor Stephen Dillane, as images of the various "Game of Thrones" players still in the mix (see: no Ned Stark) flow across the screen. "By right and birth and blood I do this day lay claim to the Iron Throne of Westeros. Let all true men declare their loyalty. The Iron Throne is mine by right. They will bend the knee or I will destroy them. The cold winds are rising." Very much a man who will break before he ever bends, Stannis is one of the most important characters in the "A Song of Ice and Fire" series, and even though we don't see him in this new trailer, his presence hangs heavily. Mark my words: Stannis is not a man you will soon forget. "Game of Thrones" returns to HBO in April 2012. What did you think of the latest "Game of Thrones" preview? Let us know in the comments and on Twitter!

Fundamental steps Presidential Debate Draws 7.6 000 0000

ABC News’ Republican presidential debate came 7.6 000 0000 total audiences on Saturday, 2.millions of of those inside the 25-54 demographic. Titled Your Voice, Your Election Republican Presidential Debate in Iowa, the special ranks since the most-seen debate in the 2012 presidential campaign so far, eclipsing Fox News’ Sept. 22 telecast, which averaged 6.millions of audiences. ABC’s debate, moderated by Diane Sawyer and GeorgeStephanopoulos, might be the 2nd to air around the broadcast network this year, carrying out a November. 12 one on CBS, which released 5.2 million total audiences.

Poor reduce entertainment

No real surprise Hollywood is doing harm to. In line with the Bureau at the office Statistics (BLS), trading on entertainment has declined 7% since 2009.The poorest Us citizens perform a much more than their great deal to stem this decline by trading a larger section of their earnings on entertainment in comparison to relaxation of society.Per BLS, the normal U.S. household (or "consumer unit" in BLS speak) spent $2,504 on entertainment this season. That signifies about 4% in the typical household's pre-tax earnings.As you may expect, how much money consumed on entertainment generally increases with earnings. Houses producing $70,000 or maybe more spent $4,438 on movies, music together with other diversions a year ago, 3.7 occasions the normal expenditure of people inside the $15,000-$19,999 earnings slot. Yet, the 2nd group spent 6.8% from the total earnings on entertainment. The $70,000-plus houses spent only 3.4%.Total U.S. household trading fell 2% from the prior year. That adopted a few.8% decline from 2008 to 2009. Entertainment trading was the most difficult hit of major groups, falling 7% inside the 2010 survey. The prior year saw a 5% drop inside the category.Inside the latest survey, health care (+1%) and transportation (+2%) were really the only major facets of trading to enhance. Contact the number newsroom at news@variety.com

Dot-Marie Jones Talks Upcoming Glee Romance: I Could Die!

First Published: December 7, 2011 6:30 PM EST Credit: Access Hollywood Caption Dot-Marie Jones chats with Billy Bush and Kit Hoover on Access Hollywood Live on December 7, 2011LOS ANGELES, Calif. -- A love interest recently entered the life of Shannon Beiste (Dot-Maries Jones) on Glee, and the actress says more romance is in store for the shows big-hearted football coach. Oh my God, theres stuff coming up in episode 10 I could die, Dot-Marie told Billy Bush and Kit Hoover of her characters storyline on Wednesdays Access Hollywood Live. Wow. First, I never thought in my life Id be singing on television! The actress, whose character is falling for football recruiter Cooter Menkins (played by Eric Bruskotter), said the pairs onscreen romance will soon be going strong, but not without challenges. Yes, there will be [romance], she told Billy and Kit of the upcoming episode. Theres a little love triangle you know, Sue [Sylvester] is in there. Dot-Marie sang her first solo (Dolly Partons Jolene) in episode eight and the 47-year-old admitted she was terrified to carry a song on her own. Last year, I did the George Thorogood song, One Bourbon, One Scotch, One Beer and it was no threat because we had to act like we were drunk, she said of her Season 2 duet with series star Matthew Morrison. We were having fun and it was with Matt, who I love to death. And then this one was by myself and I was like, scared to death, she added. Catch all of the Cooter/Coach Beiste action when Glees episode 10 titled The Proposal airs on January 17, 2012 on FOX. Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

TV Rankings: 'Glee' and 'New Girl' Hit Season Lows for Soft Fox Win, Michael Buble Premieres a Modest 'Christmas'

Carolle Brabant Executive director, Telefilm Canadaour editor recommendsAnne Sweeney Tops THR's 2011 Women in Entertainment Energy 100 ListWomen in Entertainment: The Energy 100Bonnie Hammer Discloses E! Rebranding Plans Wants As much as Four New Kardashian SpinoffsJane Fonda Reveals About Her Father, Her Go back to Acting and also the Lesson She Learned From Warren BeattyRelated Subjects•Women in Entertainment The 20-year Telefilm vet is Canada's premier film financier. Additionally to backing features like David Cronenberg's A Harmful Method and Oscar nominee Incendies, she runs Telefilm's use the brand new Canada Media Fund, which provides $350 million yearly to aid digital content production. PHOTOS: 2011 Women In Entertainment Energy 100 Ruth Harley Boss, Screen Australia Just before becoming Boss from the government funding body Screen Australia in 2008, the previous Fulbright Scholar and native Kiwi was the main executive from the Nz Film Commission from 1997 to 2008. Harley has a lot more than two-and-a-half decades of expertise employed in film and tv. Christine Langan Mind of BBC Films The Oscar-nominated producer from the Full required over BBC's film division last year, managing productions including StreetDance three dimensional (Britain's first three dimensional movie) and Rob Fiennes' Shakespeare adaptation Coriolanus. Audrey Lee Gm of Sales and Purchases, Edko Films Lee continues to be instrumental in Hong Kong-based producer-distributor Edko Films' discharge of worldwide blockbusters in Asia, including 2008 Oscar champion Slumdog Uniform and recent Bollywood smash 3 Idiots. Edko also is the owner of the theater chains Broadway Circuit and AMC Movie theaters. Lori MacPherson Executive vice president Global Product Management, Wally Disney Galleries The lady who switched Blu-ray right into a money-spinner has become billed with doing exactly the same for digital distribution. MacPherson runs the management, sales and distribution of Disney content worldwide. COMPLETE LIST: 2011 Women in Entertainment Energy 100 Liz Mohn Investor/board member, Bertelsmann The Mohn family controls German media giant Bertelsmann -- who owns RTL Group, BMG, Random House and also the X Factor/Idol producer FremantleMedia. Mohn, the household matriarch, looks after a low public profile but continues to be regulating energy behind the throne. She also offers the ear of German Chancellor Angela Merkel, whom Mohn calls a detailed friend. Liz Murdoch Chairman and Boss, Shine Among the couple of Murdochs not stained through the phone-hacking scandal, Elisabeth founded Shine Group in 2001 and spent ten years building it into among the world's leading indie TV production companies with your global franchises because the Greatest Loser and MasterChef. Liz cashed out this season, selling Shine to father's News Corp. for around $650 million, but remains on Shine's board. Alison Owen Founder, Ruby Films In the period perfection of Jane Eyre towards the Emmy and Golden Globe success of Temple Grandin to cult zombie comedy Rob from the Dead, Owen has probably the most effective and eclectic creating careers within the indie biz together with her London-based shingle. Tessa Ross Mind of Film4 The uncrowned full from the British film industry, Ross accounts for developing, financing and professional creating highbrow fare as Slumdog Uniform, Happy-Go-Lucky and also the Lovely Bones. Her recent films include honours hopefuls The Iron Lady and Shame. Anke Schaeferkordt Boss, RTL Television Perhaps probably the most effective lady in European television, Schaeferkordt was the very first worldwide buyer to identify the potential for the CSI franchise. The channels she handles with each other paid for for 44 percent from the German TV ad market this year and gained $730 million in profit for parent company Bertelsmann. Nansun Shi Film Producer Probably the most influential female producer within the greater China region, Shi may be the longtime creating partner of Hong Kong super director Tsui Hark. A 30-year vet industry vet, she's also chairman of Hong Kong's influential Distribution Workshop and would be a jury member at this past year's Festival p Cannes. Friede Springer Majority investor, Axel Springer Another FOM (Friend of Merkel) and something of Germany's wealthiest women (personal wealth: $3.2 billion), Springer may be the chief energy broker at Germany's second-biggest media group. Marketers of Das Bild, Europe's greatest tabloid and also the broadsheet Die Welt, Axel Springer also holds stakes in a number of German regional Television channels. Alison Thompson Co-leader, Focus Features Worldwide The best hands of Focus Boss James Schamus and Leader Andrew Karpen, Thompson runs the indie giant's worldwide procedures, from production and purchases to sales, distribution and marketing for prestige game titles such as the American, Beginners and Wes Anderson's approaching Moonrise Kingdom. At Cannes in May, Thompson released FFI's most ambitious project up to now: the mega-budget Cloud Atlas, starring Halle Berry and Tom Hanks. Related Subjects The Lovely Bones The American Idol Show Happy-Go-Lucky Jane Eyre Slumdog Uniform The Iron Lady Masterchef The Greatest Loser A Harmful Method Shame The X Factor Women in Entertainment Women in Entertainment 2011 Worldwide

'The Artist,' 'War Horse' Among Contenders Nominated for Satellite Awards

This article appears in the Dec. 9 issue of The Hollywood Reporter magazine.our editor recommendsThe Making of Steven Spielberg's 'War Horse'From 'The Artist' to 'War Horse,' 23 Awards Contenders That Prominently Feature Animals (Photos)'War Horse': Newest Trailer Heavy on Orchestration, Heartstring Pulling (Video)'War Horse' Star Jeremy Irvine to Play Young Colin Firth in 'The Railway Man' (Exclusive)Steven Spielberg and Peter Jackson: The Titans Behind 'The Adventures of Tintin' In October 2010, Steven Spielberg fell in a hole. "I was walking in a trench with my viewfinder and the crew following me, and all of a sudden I disappeared," recalls the director of the time when he was shooting War Horse just outside London. "It was a hole dug for explosive charges, and a storm had washed away the warning cones and filled it up. I was totally under ice water. I threw my hands over my head, and two big grips pulled me out." Now, 13 months after wrapping his World War I epic, Spielberg can laugh about "the murder hole." But that was only one of the challenges involved in bringing his movie to the screen, along with fighting freezing weather, dealing with an army of 5,800 extras and about 300 horses, and turning to filmmaker Peter Jackson for crucial wartime artifacts from his private collection -- all within a 63-day shoot and with an exceptionally tight $70 million budget ($65 million after tax breaks). PHOTOS: The Making of 'War Horse' Spielberg first heard about War Horse in the summer of 2009. That's when his longtime producer Kathleen Kennedy mentioned the West End adaptation of Michael Morpurgo's 1982 novel, which centers on a British horse named Joey that we follow from birth through four years of war. During that time, he is enlisted by the army, captured by Germans and hidden by French farmers, all while being trailed by Albert, the young Englishman who raised him. When Kennedy spoke of the project, Spielberg was on the scoring stage for The Adventures of Tintin. Having finished 31 days of motion-capture work, he was in a yearlong holding pattern until animation was completed and he could return to the film. To his surprise, he discovered that the book's movie rights had not been optioned, so Kennedy flew to England, where she had breakfast with Morpurgo, then hired Billy Elliot scribe Lee Hall to craft an initial draft. COVER STORY: Steven Spielberg and Peter Jackson -- The Titans Behind 'Tintin' "What was irresistible for me had nothing to do with global war," says Spielberg. "It was how Joey linked disparate characters together and the length to which Albert went to find him." After working briefly with Hall, Spielberg moved on to a second writer, Four Weddings and a Funeral's Richard Curtis, in an attempt to bring the screenplay closer to the book. Curtis was nervous: He'd met Spielberg only once before, at France's César Awards in 1995, when the presenter declared Spielberg's Schindler's List a masterpiece and said, "If any other film wins, it will be a disgrace to the honor of France" -- only for Four Weddings to pick up the best foreign film trophy. PHOTOS: Steven Spielberg on Set But Spielberg was more interested in the new picture, and he was clear it should focus on the horse -- like the novel, the movie was to be told from the horse's point of view -- rather than intercutting that story with the boy's. Curtis became convinced this would work when he read the book aloud to his 14-year-old daughter while she was in bed, awaiting an operation. "I found it hard to read the last 10 pages to her because they were so emotional," he recalls, declining to say more about the operation. "I thought immediately, 'If it works in the book, we can do it in the film.' " PHOTOS: 'The Adventures of Tintin' Now he moved fast, whipping through more than a dozen drafts in three months while conducting two-hour telephone conversations with Spielberg. On one occasion, he had to hide in a hospital medicine cabinet while discussing the script, "surrounded by syringes and pills, because I couldn't talk in my daughter's room." As he wrote, a research team plowed through troves of artifacts at England's Imperial War Museum, frequently copying photos that would be used to stage scenes. Spielberg was fascinated by their discoveries. "I was not prepared for how many millions of horses perished during the Great War -- it was over 4 million," he says. "And it wasn't all in close combat; a lot was just through malnutrition and mistreatment. But don't forget that the Humane Society was born out of the First World War, and it was a huge turning point in technological warfare that supplanted the horse once and forever." PHOTOS: 23 Awards Contenders Featuring Animals In addition to the material his researchers found, Spielberg drew on an unexpected source: his Tintin producer Jackson, who collects war memorabilia. "He's even got about 15 working biplanes, which we didn't need," marvels Spielberg. "He sent about three cargo containers to the U.K., free of charge. He pretty much lent me his entire World War I collection." As all of that fell into place, a critical matter loomed: finding the right actor to play Albert, who ages from 15 to 21. "I looked for months and months," says Spielberg. "I was running out of hope, then Jeremy Irvine came in toward the last third of the casting process." There was one snag: The 20-year-old Irvine's most extensive acting experience had been playing a tree in the chorus of the Royal Shakespeare Company. "I had a couple of months of going in to audition two or three times a week, sometimes doing videotape and knowing it would be shown to Steven," he says. "It was quite intense." Weeks after his first audition, adds Irvine: "I got a call at about 8 p.m. or 9 p.m., saying, 'Can you meet Steven for tea in a hotel in London tomorrow morning?' I did what any actor would do: I freaked out." He won the role regardless, and shooting commenced Aug. 6, 2010, in Dartmoor, in the south of England. Production designer Rick Carter had searched for British locations that would be convincing, such as the bucolic farm where Joey's story begins and the no-man's-land where the war is fought. A crew of 750 worked ferociously so each location would be ready when filming took place. Operations revolved around seven locales, ranging from the untamed moors of Dartmoor to a derelict airfield in Surrey, England (where land could be dug up to look like a battlefield) to the Duke of Wellington's storied estate west of London. Each had its share of difficulties. In Dartmoor, a nature preserve, the land couldn't be touched. "We had to put down netting and bring the dirt in and plant what looked like rocks and dig into that," says Carter. The appalling weather created some "nail-biting situations," he adds. Right before the shoot, a terrific storm blew away part of a thatched roof on Albert's farmhouse -- in actuality, made of Styrofoam. "We had to have a crew repaint it every day because it was falling apart," Carter notes. For one shot, in which men and horses emerge like ghosts from a field of reeds, the plants were moved from another part of the country and set in place individually. "There was a marsh somewhere in the south of London still in bloom; we went there and paid a farmer to cut his whole field down, then we put the reeds in Styrofoam." Even the 250 yards of trenches Carter dug, which might seem a simple task but involved laying down an infrastructure to keep them in place and allow tracking shots, required six weeks of preparation alone. "It was like a construction site, with 20 Caterpillars running around," he says. Creating clothing for the men who would inhabit those locations was no easier. "[Costume supervisor] Dave Crossman would trawl through eBay, seeing what we could get -- the hardware and the insignias," says costume designer Joanna Johnston, a longtime Spielberg collaborator. Beyond the beauty of the uniforms, she was surprised at the real-life parallels she discovered with the movie. "The great-grandfather of a girl who worked with us was a milkman whose horse was taken during the war -- and amazingly, the horse made it back," she says. As far as the present horses were concerned, Kennedy brought one huge advantage: Having produced 2003's Seabiscuit, she knew the ins and outs of working with equines. "That was one of the biggest departments on the film, with 200 to 300 people," she says of the animal unit. "You'd sometimes have as many as 180 to 280 horses in a scene. You'd have groomers and drivers to haul the horses and the feed, people to set up portable barns, vets and everyone else who handled the tack and the horses' makeup." Fourteen horses in all played Joey, the most prominent being one named Finder, which had starred in Seabiscuit. "We had bought horses for Seabiscuit, then we sold them -- and Bobby Lovgren, our lead trainer, bought Finder," says Kennedy. "He turned out to be one of the best horses Bobby had ever worked with, so he brought Finder with him to England." Except for one notable shot in which the horse stumbles and falls into a trench, most of the work was done without CGI effects. That added pressure to the shoot, as did the ever-changing British weather. "It was unbelievably rainy and cold," says Kennedy. "Even when you had your wellies on, sometimes you'd just take a step and one would be left stuck in the mud. It was freezing and raining, but then there would be these amazing skies and the whole crew would stop and gaze out at the landscape because it was so beautiful." Moments like these vanished during the hardest part of filming, when the trench warfare took place. "As soon as your big woolen uniform gets wet, the weight is unbelievable," says Irvine, "and you'd be running across no-man's-land, right through the mud and dirt. There were sequences where explosions would take place next to me and three or four stuntmen would fly through the air -- and then there'd be other scenes where you're just soaking wet. I got trench foot [a medical condition contracted through lengthy contact with dampness]. The soldiers used to get it all the time. And then there were the rats." Several dozen rodents were released into the trenches with the actors, much to their horror. But the rats were even more of a nightmare for the producers. "When you put mud on a rat, it immediately starts to clean itself. We could never keep them covered in mud," says Kennedy with a laugh. Shooting wrapped Oct. 27, 2010, following five days of studio work. Audiences will see the finished movie when Disney releases it domestically on Christmas Day through its distribution pact with DreamWorks, which financed the film through its partnership with Reliance Entertainment. (The picture unfurls internationally starting Dec. 26 in Australia.) The U.S. opening comes four days after the Dec. 21 North American release of Tintin, which already has proved an international blockbuster. In some ways, War Horse is more important for DreamWorks -- Tintin, a joint venture between Sony and Paramount, wasn't financed by the company. The former's success is critical for the studio, which has had some recent disappointments along with one megahit, The Help. Spielberg says he'll cherish the memories of making the film -- the tenderness of working with the horses, the miracle of the sunsets and the chance to bring history to life -- despite all the obstacles he encountered. "The thing about filming is, [almost] everything goes wrong," he says. "It's using the parts that go right in the finished film that counts." PHOTO GALLERY: View Gallery The Making of Steven Spielberg's 'War Horse' Related Topics Steven Spielberg International Kathleen Kennedy War Horse Awards Season Preview Books Books to Film

A trio with Brio

Branagh's role as Olivier in 'My Week With Marilyn' revitialized his need to act on film.Kenneth Branagh expects to devote additional time to film acting within the immediate future -- "I'd this type of scrumptious amount of time in ('My Week With Marilyn'), and I wish to continue that," he states -- but he's selecting carefully and it has yet to invest in his next role. In the long run, he's developing three features like a director."Italian Footwear," modified by Richard Cottan in the novel by "Wallander" author Henning Mankell, is all about a reclusive old surgeon on the Swedish island who has not be prepared for his past mistakes. Anthony Hopkins and Judi Dench are affixed to star. "Wallander" co-producers Left Bank and Yellowbird are striving to shoot at the end of 2012 or 2013.Fox 2000 is developing "The Guernsey Literary and Potato Peel Cake Society," modified by Don Roos in the bestseller by Annie Barrows and Mary Ann Shaffer. It is a love story occur London and also the Funnel Islands after World war 2 that Branagh describes as "an attractive romance, very touching and beneficial." Producers are Paula Masur and Mitchell Kaplan, with Branagh's regular partner David Barron."In the two cases, the nuance, delicacy and flavor is really in line with the perfect casting," Branagh states. " 'Italian Shoes' is tailormade for Anthony Hopkins and Judi Dench. Casting isn't fixed yet for that Guernsey film."Even more off, Branagh is mounted on direct "The Boys within the Boat," that the Weinstein Co. is developing according to Daniel James Brown's book concerning the Washington U. rowing squad within the nineteen thirties.On stage, "The Painkiller," by which he starred at Belfast's Lyric Theater this summer time, is under discussion to transfer to London or NY. Branagh states a choice is going to be made after he's finished shooting the most recent instances of "Wallander," that they is at the time of filming in Sweden.British Independent Film Honours 2011Back towards the features The Range Award: Kenneth BranaghTitan of stage, screen, tube A trio with Brio Interested in Kenneth Contact the range newsroom at news@variety.com

Stockard Channing Shrugs Off Pain To Hit The Stage

First Published: November 26, 2011 5:19 PM EST Credit: Getty Images NY, N.Y. -- Caption Stockard Channing attends the Other Desert Cities opening night after party at Marriott Marquis in NY City on November 3, 2011Stockard Channing has made a speedy some might say miraculous return to Broadway. The 67-year-old Tony Award-winner performed in Other Desert Cities on Friday night and plans to continue in the show despite undergoing arthroscopic surgery on her right knee less than a week ago. Channing felt her knee collapse backstage after the Nov. 18 show and missed seven performances. She plans to perform in Saturday nights show and Sundays matinee. An understudy performed Saturdays matinee and will do Wednesdays matinee. The Jon Robin Baitz play, about a dysfunctional family wrestling with a deep secret, opened Nov. 3. In an interview Friday before her return, Channing said: This is maybe stupid. I dont know. But if it doesnt blow up or get painful, Im doing the right thing. Copyright 2011 by The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Julie Delpy Finds The Best Profile

A Joe Strummer biopicIf you had been to request us who may be dealing with a movie about Clash frontman Joe Strummer, we may have recommended someone like Michael Winterbottom as well as Cameron Crowe. But news from Variety is the fact that Julie Delpy is mounted on direct The Best Profile, that will take a look at a chunk of Strummer's existence and career is really a surprise, although a enjoyable one.However, Delpy has lengthy since been making interesting moves behind your camera, beginning together with her own shorts before moving onto co-write Before Sunset and writing and pointing movies for example a couple of days In Paris and also the Countess.Profile has been stored largely under systems, although it got its title in the Clash song, which adorned 1979 album London Calling. The program, however, would be to have a look at both his music and the existence, including his intended disappearance in the spotlight in 1982.From the Strummer project, Delpy is busy editing her latest writing/pointing job a couple of days In NY, which finds her Paris character managed to move on and coping with the kid from her previous relationship. She's also, based on Allocine (through the Playlist), searching to team support with Richard Linklater and Ethan Hawke for any third outing within their Before Sunrise/Sunset series.But who do you consider could play Strummer? Your guesses please...

Cheers & Jeers: A Tasty Hawaiian Buffett

Hawaii Five-, Jimmy Buffett Cheers to Hawaii Five- for saying "Aloha" to Jimmy Buffett. Want more Cheers & Jeers? Subscribe to TV Guide Magazine now! Casting the boy from the boy from the sailor man guy as Frank Bama - a grizzled Vietnam-era helicopter pilot who airlifted Danno as well as the Five- squad into North Korea in order to save an jailed McGarrett - could've switched to function as hardest cheeseball-in-paradise stunt. But Buffett held their very own opposite old pros Terry O'Quinn (as McGarrett's mentor) and David Keith (just like a Navy SEAL) and introduced a welcome change of attitude for the frequently-humorless reboot. Mr. Margaritaville fired off an inspired inside joke after Scott Caan's Danno declined his offer of liquor: "I'm really a margarita guy." Responded Bama, "Can't say I blame ya." Calculates CBS was undertaking a opt not only to Buffett's "Parrothead" fans after they reserved 'im. Whoever else consider Jimmy Buffett on Hawaii Five-? Subscribe to TV Guide Magazine now!

Ask Matt: Big Bang, Grey's, Glee, Terra Nova and More!

Sandra Oh Send questions to askmatt@tvguidemagazine.com and follow me on Twitter!Question: Why do successful shows tinker with what is already working? Rules of Engagement has become "The Timmy Show," and The Big Bang Theory has become a show about Penny, Bernadette and Amy. What gives? - KellyMatt Roush: The easiest way to answer this question is to state a pretty obvious fact of TV life: If you don't tinker, you risk growing stale. In this case, tinkering means adding new characters along the way and expanding the world of a show, which is essential for most series, including sitcoms, especially when it's clear they're in it for the long run. You may be exaggerating where Rules is concerned - it's not a show I watch regularly - but it's not unusual for a breakout character to get more prominence as time goes on. Call it scene stealer-itis. But I do think you're misrepresenting the role of the girls' club within Big Bang. Penny has always been an essential element of the show, but adding Amy as a female foil for Sheldon and Bernadette as a love interest for Howard - and then having the three gals bond in a way that surprises themselves as well as the geek squad across the hall - has given the show many more comic avenues to explore. For me, this new blood enhances rather than diminishes the show. I find Amy hilarious, and the scenes where Bernadette channels Howard's mother, belying her meek demeanor, brings back fond memories for me of Georgia Engel on The Mary Tyler Moore Show. The fact that the females might even get an "A" story once in a while only shows how much they've grown on the audience and on the writers. If Big Bang was only going to deal with the four science nerds, it would risk burning itself out a lot more quickly. Thankfully, that's not going to happen.Question: How amazing were Sandra Oh and Kevin McKidd in that scrub room scene on Grey's Anatomy's fall finale? I'd be surprised if there's not an Emmy nomination for one or the other. - Maya (via Twitter)Matt Roush: That was a very effective and moving scene. Watching her meltdown from the other side of the window just added to the emotion of the moment. I thought McKidd was equally strong conveying the pain as he talked Teddy through her surgery while she babbled on about her husband, not knowing he'd just died. Moments like these are welcome reminders that Grey's Anatomy, despite its flaws and excesses, hasn't run out of gas (unlike Desperate Housewives, which is limping to the finish line this year). But expecting Emmy nods is only going to set you up for disappointment, I fear. While it's possible Oh in particular could get nominated again - she has five nominations already, but not since 2009 (and she won a Golden Globe in 2006) - the show has pretty much fallen off the Emmy radar over the last few seasons. But then, Loretta Devine won a guest-acting Emmy last year, so you never know. Cable shows have tended to upstage network dramas in the awards races lately, with only CBS' The Good Wife being a major contender from the broadcast side. And once a show falls out of favor, the real surprise is for it to be welcomed back to the party. Which is a roundabout way of saying that if Oh or her co-stars were to be nominated again, I'd be surprised, but not unpleasantly.Want more Matt Roush? Subscribe to TV Guide Magazine now!Question: Of course the Parents Television Council has gotten upset over the sex-centric Glee episode that aired last week. I'm not so concerned about that. What I do want to talk about is another area of the episode. I long ago realized that I should not expect Glee to adhere to any sort of realistic standard, and that's fine. But I do take issue with Artie's director's note to Rachel and Blaine, essentially saying that they can't play characters who have a sexual awakening because they haven't had one.I wrote to you two years ago this month when Glee aired its "Wheels" episode, focused on Artie's challenges relative to using a wheelchair and praised the show for its sensitive depiction of the issue. "Disability advocates" were making news talking about how an actor who is not actually disabled should not play a character with a disability because (I'm paraphrasing here) the role should be offered to a chair user who has that firsthand experience. As both a wheelchair user and a theater student, I believe saying that actors have to have the same experiences as their characters cheapens the whole concept of acting. Of course actors should find some way to connect emotionally to the journey of the character, but that doesn't have to be because they've lived the same thing. Glee has never been a realistic show, but it stunned me to watch Glee use Artie to make the very argument that Kevin McHale's impressive performance on the show defeats. Do the writers really not understand that it is the same argument?I know that the show had them go through with the West Side Story performance in spite of not having sex first, which proves they could do it, but still, this was a shockingly disappointing turn for a series I have always supported for its belief in the value of telling stories about anyone and by any means available. For the record, I have weathered the storm of Glee from the beginning and it's not always easy to come back to the show, but every time I think about giving it up, they have a lovely moment like the intercutting of "One Hand, One Heart" with the sexual material at the end of the episode or "Somewhere" reconceived as a mother-daughter duet a few episodes back. I just hate times like this when they destroy their own credibility because it makes it harder for me to trust that the show is going somewhere. - JakeMatt Roush: Even in the better episodes of Glee, which I felt last week's very much was, there's bound to be something to aggravate you, and you make an excellent point that Artie of all characters was the wrong person to send that misguided and ultimately meaningless direction. (For me, one of the biggest question marks this season is why they put the school musical in the hands of non-musical supervisors in the first place, when Idina Menzel's character had just come on staff to oversee that absurd rival glee club and must have had time on her hands. Oh well.) I'm with you, though, on how the special moments of Glee tend to get me past all the inconsistencies and foolishness. There's still no other show quite like it, and for that I forgive it a lot. But as you're about to read, not everyone is so generous.Question: I've finally gone and removed Glee from my DVR. The kicker was the Nov. 8 episode. When will audiences sit up and realize this show is an empty suit? It's barely progressive - when it isn't ramming stereotypes down our throats - and it gave up on any pretense to subversion with the second season. It's preachy and shrill. Characters are nonsensical, contradicting themselves from one episode to the next, and behave at the whim of the theme assigned to the episode. The development of story on this show is recycled at best, a joke at worst. On the sex episode, Mike Chang's plot was reduced to two scenes; one overwrought, one treacly, both painfully obvious. His story would be better served not featured at all until there's adequate time to address it. As produced, those scenes were shoehorned in and lacked any impact. This is typical of any story that does not directly involve Kurt or Rachel - and even those give me whiplash. About the only thing last week's episode got right was the insulated, dimly lit and sadness-tinged qualities common to so many of the small-town gay bars I've had occasion to visit over the years. I'm disappointed, as the show had heart and a ton of promise when it first debuted. But the smattering of great moments is not enough to keep me hanging on. Where are you on this, Matt? Am I out there on this limb by myself? - ChrisMatt Roush: As I noted earlier, I'm not ready to give up on Glee yet, though I am thinking twice about watching this week's Sue-centric episode, because ... well, Sue. But you're hardly alone. And we do agree on one thing, since I used the term "whiplash" in last Tuesday's review/overview to describe the experience of watching Glee this year. The ratings have cooled considerably, indicating last season's glaring flaws tested many fans' patience. And you're right that if those few moments in last week's episode were meant to be a payoff to Mike Chang's story, which began so memorably in the "Asian F" episode (the best of the season, along with "First Time"), it's too maudlin and not enough. (Though I imagine there will be more to come.) But when you complain that the show isn't "progressive" or "subversive" enough, I can't help thinking how far TV has come in the years I've been covering the beat. Back when I was writing about a cultural milestone like thirtysomething, and the industry went into convulsions over two men being shown in bed, if you'd told me someday two gay teens were going to have their first moment of (very discreet) intimacy played out against a "West Side Story" romantic classic, I'd have scoffed. Glee has pushed plenty of boundaries to do honor to its misfits and outcasts. It's far from a perfect show, but even if it never regains its initial mojo, it's still a significant one.Question: I'm wondering what your thoughts are on the new show Person of Interest. If I recall correctly, this is a show you enjoyed because it was a different kind of CBS crime procedural. As a big fan of Lost, I checked out the show because I couldn't wait to see Michael Emerson again. However, I was disappointed after the first episode and haven't watched an episode since. Now, I am not (and probably never will be) a big fan of CBS-like procedural dramas; I'm much more into serialized dramas like Lost, Friday Night Lights, Parenthood, etc. My question for you is this: Would it be worth my time to go back and catch up on Person of Interest? For me to truly enjoy a show, I need some sort of overarching storyline going on, even if it is sometimes overshadowed by case-of-the-week plotlines. I do enjoy shows like Chuck and Glee, that although there may be a new "mission" or "lesson" for each episode, there are certain things that must be caught up on in order to fully know what's going. I'd appreciate your thoughts on this. - BrandonMatt Roush: If you're expecting Person of Interest to be the next Lost, or more to the point the next Alias (given its pedigree), you're bound to be disappointed. There are some arc-like threads to the show, including the detective's pursuit of Reese and the murky back stories of Finch and Reese. I get a sense that some characters, like Paige Turco's "fixer" from a few weeks ago, could recur and become part of the show's fabric. But by and large, it is a self-contained procedural, though what sets it apart for me is the sense of urgency and mystery in each week's episode that goes beyond a standard crime drama. And I really enjoy watching Emerson and Jim Caviezel. To give you some perspective on why I would single a show like this out of the fall roster, I need to be able to appreciate the good, bad and in-between in all genres, and being this dismissive of the better procedurals wouldn't make sense. So my specific advice to you is to check out the listings and promos and wait for an episode that sounds particularly intriguing and give it another chance. It's very likely it still won't satisfy you, because of the preferences you've so clearly defined. But you could do far worse.Question: Like so many readers, I really enjoy your perspective on the ever-wacky world of television. I have a question - maybe more of a comment - about Terra Nova. I don't know that I had particularly high expectations for the show, but I did rather hope that it would make internal sense on some level. I can suspend disbelief as well as the next person, but I don't know how many more of those moments where I smack my head in frustration at the sheer stupidity I can endure. As an example: In last week's episode, Jim Shannon takes little Zoey to a super-secret private room containing all the knowledge of the universe (more or less). Okay, if these people had such an astonishing resource available to them, how come it's super secret? Wouldn't it be housed in some "museum of humanity" or "library of mankind" or something? Like little Zoey isn't going to go tell all her friends about the awesome day she spent with her dad in the secret room containing all knowledge? Also, if the super secret massive brain machine has its own separate power source such that the blackout of everything electronic in the compound wouldn't affect it, doesn't it make sense that the, I don't know, perimeter gate protecting the entire community might have a separate power source too so that everyone doesn't die from some random attack?And why would settlers in a hostile, primitive environment rely so extensively on technology in the first place, especially given that technology was the original reason for the ruination of the modern world? It seems like they might keep a few old-fashioned guns of some kind lying around in case of emergency. Anyway, I'm sure you see what I'm getting at. I don't seek perfection in a program like this, but neither am I dull-witted enough that throwing a few semi-cool special effects at me will make me forget the sheer illogic of everything taking place on screen. I'm getting really close to giving up on this show, frankly; I had expected something more from the creative minds behind this program. What say you, Matt? - AndrewMatt Roush: I say you're being a bit nitpicky, which is not the way to be watching Terra Nova, a show that pretty much demands you relax the critical part of the brain to sit back and enjoy a harmless hour of fantasy adventure. Although you make an excellent point about the colony being so tech-dependent, which is exactly the sort of observation someone should be making in this prehistoric world. (Which is why I think the Sixers may not entirely be the bad guys here.) Yes, I do wish Terra Nova were more sophisticated, less cartoonishly written and acted and way less pandering to the supposed adorability of the Shannon kids. But if I let myself dwell on things like the puzzle of that underground library for too long - and I may be wrong, but I didn't pick up on it being super-secret, just that Jim was introducing little Zoey to it for the first time - I probably would start to hate the show. Which I don't. It's fair to say that Terra Nova isn't yet living up to expectations, but it's far from a disaster, and I hope Fox gives it a second season in hopes of sharpening its act if not its brain.Question: I'm anxiously awaiting the start of The Firm since I love Josh Lucas and lawyer shows. Do you have any idea when it will begin airing? Also, is it true that 22 episodes have already been ordered for the first season? That doesn't sound right for a midseason replacement. - MaryMatt Roush: NBC originally announced The Firm would be part of the Sunday lineup (10/9c) after football season is over. But given how rocky NBC's fall has been, there's a chance (just speculating here) that we could see it airing on another night, such as Thursday, if/when they pull Prime Suspect. In any case, wherever it turns up, it won't be until January, and we won't have a specific airdate until NBC confirms its midseason plans. About the 22-episode order: That appears to be true, but wasn't really NBC's choice. From what I gather, the show was already pre-sold with a 22-episode commitment and foreign financing, designed by Sony to air on the company's international AXN service. So this brings down the cost of NBC's license fee, making it more attractive to the network regardless of how it performs. And it's hard to imagine The Firm doing any worse than what we've seen on the network so far this fall.Question: I was wondering if you have any insight into the programmers at The CW. I thought for sure they would cancel H8R early on and was hoping they might move a better show into that timeslot. But instead they have been re-airing Ringer. Would a fresh Nikita or Supernatural not be a better option in a prime-time midweek timeslot? Ringer repeats could easily fill the Friday slots. I am hoping that the ratings will improve if they move Nikita and Supernatural to a new night. I'd hate for either of those shows to be canceled because they are on a terrible night against so much similar sci-fi/action competition. - GeraldMatt Roush: This falls under the be-careful-what-you-wish-for heading. As we've often discussed in this column, expectations are mercifully low on Fridays, not that anyone expects much of anything on any night of the CW schedule. But moving Nikita to a midweek slot could prove even more damaging to the show if it were forced to face even stiffer competition on the big networks and be paired with something as incompatible as America's Next Top Model. Where Supernatural is concerned, it's one of those shows that just keeps chugging on, and at this point, I believe it will be up to the show's powers-that-be to decide when that ride is over. For The CW, the priority this fall is to get exposure for a new show like Ringer, which is why it was the most likely candidate to get a double-run in the H8R slot. I would like to see the network do more on behalf of Nikita, but I've always seen that show as meaning more to the parent company (Warner Bros.) than the network, and keeping it going so it can be sold to the international marketplace and eventually syndication/cable may be the reason it exists at all.Question: I read your latest Ask Matt column, when someone wrote in to talk about AMC and The Killing. I remember the big uproar over how Fringe and The Killing ended their seasons. Two of my favorite shows, and the latter was such a refreshing new take on a police drama. I thought The Killing ended perfectly. I guess I missed where the producers promised us at one time that the story would be resolved at the end of the season. My response: "So what?" Has the TV audience forgot what a cliffhanger is? I mean seriously. The creators of the show do this on purpose to build the buzz between seasons and to make the viewer excited for the show to start back up. Like with Fringe, when Peter suddenly did not exist anymore, people went crazy assuming that Joshua Jackson would no longer be on the show and other bizarre rationales. It is a cliffhanger, people! Let the shows' creators follow their vision so we can all go on a fun ride. Don't panic. I don't get it. I'm not sure what ruined the TV viewing audience, as they now need everything spelled out for them. I for one like shows that intrigue me every week, make for good discussion and conversations, etc.And I love the pacing of Homeland and The Walking Dead. I would love to have a conversation with someone who has thought Dead has been slow the last few episodes. Are they high? Some of the most gut-wrenching moments have happened and I'm blown away. Especially the episode with Shane and revealing how he survived. Also slowing the pace of the show gives the writers time to give us character development that I thought was badly lacking, as that was my majorgripe last season. With Homeland, I love the pacing of that show. And if the characters spin themselves around a few times, I have faith that it is a part of their planned story line and "gulp" could give us a nice cliffhanger to end the season. I guess we are dumb enough that we should only watch shows where the season finales are mundane, no questions asked and/or all questions answered. See you next season for the same old boring shows. Say Hi to CBS for me. - MarkMatt Roush: Regarding Homeland, was last night's episode a game changer or what? Even without the climactic reveal about the true identity of the sleeper agent, I can't get over how far they (meaning the writers) let Carrie and Brody carry on their beyond-inappropriate tryst. Wow. Addressing your larger issues: I don't know if the TV audience in general is more impatient and unforgiving when shows do things that throw them for a loop, but I do know they're a lot quicker about voicing their displeasure, frustration, confusion, etc., online. I agree that the weakest argument in the debate over The Killing's finale was that we were somehow promised something (but as previously noted, the producer did herself no favors by bragging about it afterward). But if shows are meant to inspire spirited debate, we need to let both sides be heard without mocking those with whom you disagree. Which is mostly why I find doing this column is such a highlight of any given week.Question: I like the writing and the premise of the CBS show A Gifted Man. How well is the show doing in its time slot, and will it last the rest of the season? - EricMatt Roush: In its time slot, it's winning, but that isn't saying much, given how poorly nearly everything performs on Fridays. Of all the networks, CBS tends to do well on the night, and if A Gifted Man isn't exactly doing gangbusters (especially in the demos), it's also handicapped by having to be a self-starter at the beginning of the night. So while the show isn't generating much buzz, it might not need to, and CBS owns and produces the show, which means the network may be more patient. But in the first rounds of renewals, when Unforgettable and Person of Interest got full-season pickups, A Gifted Man was not mentioned at all. So I'd still consider it very much "on the bubble" for making it through the season and certainly for renewal. But one piece of good news: Margo Martindale finally gets a prominent storyline this Friday, and it's about time.Question: I still think Ashton Kutcher would have been the perfect choice in replacing Charlie Sheen if the Two and a Half Men creators hadn't made his character of Walden into such a sad, pathetic lame brain. If it wasn't for Jon Cryer and the other hilarious co-stars, I doubt it would continue to be on my "must see" list any longer. Do you think Ashton will sign up for another year? The money is good, why not? Right? If so, I hope the writers give him a brain transplant, a hair cut and a clean shave. - EvaMatt Roush: Of all the things you can count on for next season, few are as dead certain as Ashton Kutcher sticking around for a second year of Two and a Half Men. The money is great, and the work clearly isn't all that taxing. I'm actually OK with the writers not making Walden a Charlie Harper clone, although he is an awfully passive vehicle for generating laughs. Couldn't agree more, though, that cleaning up his look might make him more agreeable company.That's all for now. Keep sending your comments and questions to askmatt@tvguidemagazine.com, and in the meantime, follow me on Twitter!Subscribe to TV Guide Magazine now!

Charlize Theron 'Young Adult' Clip: Searching for an ideal Outfit to create Your Senior High School Boyfriend's Wife Jealous (VIDEO)

.publish-content img In 'Young Adult,' the caustic black comedy from 'Juno' team Jason Reitman and film writer Diablo Cody, Oscar champion Charlize Theron plays Mavis Gary, an old senior high school mean girl who returns to her home town together with her eye with an old flame (Patrick Wilson). The issue? He's married. Not too Mavis minds, as evidenced with this exclusive new clip. Watch above. For other new examines 'Young Adult,' mind to Perez Hilton and Apple. 'Young Adult' comes to theaters on 12 ,. 16. Follow Moviefone on Twitter Like Moviefone on Facebook

Digital growth forces rethink of old roles

Steven Poster at Variety's Film Technology Summit 'Arthur Christmas'As anyone who follows Variety's tech coverage knows, one of the consequences of the digital revolution is the blurring of traditional job functions.Matte painting on glass is extinct; matte painters are digital artists now. With digital set extensions and all-CG shots and scenes, the visual effects realm overlaps with production design and cinematography. Some of what used to be vfx is now done by colorists in digital intermediate. Editors at their Avids can now do effects that used to be the province of f/x or opticals. Compositing, once an obscure f/x process, is on its way to being as powerful and creative as editing or DI. And with the latest advances in lightfield capture, even basic jobs like camera operator and focus puller are likely to evolve, if not disappear. But as Steven Poster, prexy of the Intl. Cinematographers Guild noted Monday at Variety's Film Technology Summit, existing job titles are enshrined in union contracts, work rules and best practices hammered out over a century. And that's a problem, because the filmmaking process that spawned those definitions and rules is fading into history. Poster called for an industrywide consortium similar to the Digital Cinema Initiative to look at the on-set workflow and find new, flexible definitions and rules."We need to develop a flexible concept of what the work is going to be over the next three years," he told Variety offstage, "because it's going to change, and we can't lock ourselves into something that isn't going to have some flexibility to it."The DCI spec that Poster cited as an example, less than a decade old, is already showing its age. There's been talk of a DCI 2. "I think that every certain number of years you're going to have to do this because it's changing so rapidly," Poster said. He said the pace of change has forced the ICG to constantly retrain its members, like never before.Among the new challenges that demand new standards, he said, is 3D exhibition. Poster said he's recently discussed with a studio the idea of exhibition standards, because the 3D golden goose could be killed by dark, muddy projection. "If there are no standards you're going to get mom-and-pop theaters, you're going to get small chains, and everyone has their own standards, instead of everyone saying, 'Let's work toward this.'?"3D's fuzzy mathSpeaking of 3D, I have another rant on 3D exhibition. Since I cover 3D, I've accumulated a handful of reusable circular-polarized 3D glasses, which are an upgrade vs. standard recyclable RealD glasses. My family and I used them at the preem of "Immortals" Monday night and all of us enjoyed the 3D experience. The next night we went to a screening of Sony's 3D "Arthur Christmas" at Pacific Theaters' The Grove in L.A. The Grove uses the Xpand active glasses system. We've had so many bad experiences with 3D at multiplexes -- especially at theaters using the Xpand system -- that we habitually arrive early to get good seats and check the glasses for dirt and broken lenses. The lenses on our glasses were intact but filthy. After 10 minutes of effort and expending most of a bottle of lens cleaner, one pair remained hopelessly smeared and gritty, so I went out to ask for a different pair. The theater employees were unsurprised."People's greasy fingers from the butter," one said. In a few moments, they found me a less greasy pair, cleaned it further, and I was able to enjoy the movie. My question for studios, distributors and exhibitors: What portion of your customers think to check their glasses the way I do? How many end up squinting at your nine-figure tentpole through a slick of butter and salt?Now let me say, my family and I enjoyed "Arthur Christmas" and we ended up with no complaints about the 3D. But as an observer of the industry, I think it's insane for theaters to charge people a premium then hand them dirty glasses. As a customer, moreover, I sometimes find myself feeling about movie theaters the way I do about the people who send me Nigerian bank scam emails. I doubt I'm alone. I don't think this is how you want us to feel when we ponder how to spend my entertainment dollars. Bits & BytesThe Cinema Audio Society has added scoring mixers to its awards lineup, with categories for Motion Pictures, TV Movie and Miniseries/DVD Original. ... The NAB Show will again sponsor the Hollywood Post Alliance's Engineering Excellence Award.Panavision has branched out from its entertainment role with its Dynamax-11 CMOS image sensor, which it says will be useful for machine vision and industrial applications such as traffic systems, security, surveillance and scientific imaging -- as well as HD camcorders. Christie is staking a claim to leadership on high frame rates among projector makers. They announced a high frame rate (HFR) projector system at IBC in September and at ShowEast they announced a HFR upgrades for their Solaria Series projectors. Christie is also partnering with movie helmers to nurture HFR and establish standards. ... Christie has also pacted with Landmark Cinemas, the largest independently owned theater chain in Western Canada, to digitize more than 100 Landmark screens with Solaria Series projectors. Gravity produced more than 200 vfx shots for Universal's "Tower Heist," including digital set extentions, CG buildings, digital matte paintings and simulations. ... Company3 and Method Studios, both Deluxe companies, collaborated on the post for "Tower Heist." Companies share a Gotham address and were able to share common servers and projectors, speeding up and simplifying vfx and DI. ... Luma Pictures created visual effects for "In Time." Pic marked Luma's fifth collaboration with d.p. Roger Deakins. ... Culver City-based Zoic is providing effects for new skein "Once Upon a Time." ... The Foundry has launched the commercial version of Katana look development and lighting software. Industrial Light & Magic concurrently purchased a site license for Katana 1.0. Katana was originally developed as proprietary software by Sony Pictures Imageworks. ... The Foundry has also released Ocula 3.0, a "significant upgrade" to its stereoscopic plugin for compositing package Nuke. ... Digital Domain has standardized on Tweak's RV and RV-SDI software for collaborative review of images and footage, including dailies, throughout its studios. DD will integrate RV into its own proprietary dailies system. ... Soh VFX of Toronto has purchased a 100-seat license for Southpaw Technology's Tactic workflow-management software. ... Luxion has released a KeyShot plugin for PTC Creo 1.0. ... Blackmagic Design announced Desktop Video 9.0 with support for Avid Media Composer 6, including Symphony and NewsCutter. ... Avid and Thought Equity Motion have also struck an exclusive partnership to link editing workflows with cloud-based licensing and storage services. Thought Equity Motion's services will be offered in the Avid marketplace, and Avid users will be able to search, preview and download millions of hours of library footage from directly within Media Composer projects. ... Vancouver-based 3D conversion company Gener8 received a C$1.5 million funding round. ... MasterImage 3D and Chimei Innolux Corp. are partnering to show glasses-free 3D on a 4.3" smartphone. Autostereo screen uses MasterImage's proprietary Cell-Matrix Parallax Barrier technology and shows 720p resolution. ... Speedshape officially launched its 3D Stereo Film Division with 2D-to-3D conversion work on "Spy Kids: All the Time in the World." Maxon has a new Exchange plug-in that allows artists to import directly from Adobe After Effects into Cinema 4D... e-on Software is shipping Vue 10, an update to its "digital nature" solution, "in early November." ... Nvidia and VMWare have struck a strategic partnership to enable remote delivery of high-end, workstation-class virtual desktops and applications for artists, engineers and scientists. ... Assimilate has launched an online store for its Scratch production and vfx workflow tool. Store will include third-party software and selected hardware accessories. ... Cinedeck has announced version 2.5 of its Cinedeck EX portable, multi-format, recording, monitoring and playback system.Speaker maker Audez'e has unveiled their new Realty-1 nearfield studio monitor for recording studios and other pro environments. Audez'e uses planar magnetic driver technology. Paradise FX has launched its Helios 3D rig for native 3D shooting. ... D.p. Rhonda Dorsett of the Phoenix Group chose Litepanels LED fixtures for interviews and footage surrounding a Harry Chapin tribute concert timed for the 30th anniversary of the singer-songwriter's death. ... Ingenuity Engine created 125 stereoscopic vfx shots for "A Ver Harold & Kumar 3D Christmas." Company's vfx supervisors David Lebensfeld and Grant Miller. ... "Pixeldust Studios produced over 1000 animations for the four-part "Nova" series "The Fabric of the Cosmos." ... Steele Studios has delivered more than 60 elements for the on-air 3D graphics package for 3D TV network 3Net. ... Wealth TV covered the Viva Don King World Championship Fight Card with Panasonic AG-3DA1 cameras. WealthTV is using 15 of the cameras around the world. ... Panasonic has released 42" and 50" versions of its BT300 professional plasma reference monitors, aimed at applications where color accuracy and 3D rendering are essential. ... Daniel Lynch is the new general manager of Xytech's London office. He will lead sales and operations for company's growing European customer base. ... Cinesite has opened pre-registration for its Inspire internship program for students with an interest in computer programming or technical effects. ... Contact David S. Cohen at david.cohen@variety.com

Adele Delivering 'Set Fire for the Rain' As Her Next Single Off '21'

While Columbia Records had initially designed to release "Rumour Has It" since the next pop and adult radio single from Adele's album 21, the label will rather promote "Set Fire for the Rain" since the set's next focus track within the formats.our editor recommendsJustin Bieber, Rachelle Lefervre, Jennifer Aniston Among People Choice NomineesAdele Undergoes Surgery on Vocal CordsAdele Cancels Remaining 2011 Shows to pass through Throat Surgery PHOTOS: 2011 MTV VMAs Red-colored-colored Carpet Arrivals "Fire" is applicable to airplay at adult pop, adult contemporary and triple A November. 21, a push to pop radio in December. "Our research found more programmer preference for 'Set Fire for the Rain'," states Columbia Sr. V . p ./promotion-adult formats Pete Cosenza. "Both 'Rumour' and 'Fire' came back strong, but 'Fire' was a bit more effective." The blues/rock-leaning "Rumour" has produced familiarity via its No. 1 chart work on the adult alternative Triple A chart, but pop and adult radio decision-makers have voiced their election for your more lushly-produced, energy chord-driven "Fire." VIDEO: MTV VMAs Video of year Nominees Clients, too. "Fire" has racked 683,000 in digital sales becoming an album cut, according to Nielsen SoundScan. In contrast, "Rumour" has offered 408,000. Despite not receiving been formerly been formally maintained to radio, "Fire" has acquired exposure by turning up in marketing campaigns for your final season of Foreign exchange's Save Me as well as the CW's Ringer and ABC's Revenge. "Fire" has aided 21 tally 4.3 million in sales, the season's top album sales sum. The set's "Moving inside the Deep" commanded the Billboard Hot 100 for 7 days and contains offered 5.5 million downloads. Piano ballad "YouInch adopted getting a five-week Hot 100 reign and contains offered 2.7 million downloads. VIDEO: 2011 MTV VMAs Nominees Stating greater than 61 million YouTube sights for just about any mere lyric video in the song, Cosenza is positive that "Fire" will warm-up radio like its predecessor singles from 21. "It's a far greater intend to choose 'Fire' over 'Rumour' at pop and adult radio," according to him. "Everyone, from radio for the buying public, seems being aboard.Inch Related Subjects Adele

HAMMOND: Murphy Exit Throws Oscars Into Further Chaos

OSCARS: Eddie Murphy Pulls Out As Host HAMMOND: Oscars Post-Ratner What Now? An email I got this morning from a longtime Academy member said, “Brett’s a brat … but really!!! Next one to go would be Eddie. … No loss.” Well Academy member, you got your wish. In this swiftly moving story, host Eddie Murphy has followed Brett Ratner out the door of this year’s Oscars. I wrote earlier that I would be surprised if he did this, thinking his professionalism would trump any perceived loyalty to Ratner, who directed him in Tower Heist and tapped him for his first hosting gig on the Oscars. Apparently not. We can now add this to the ever-growing list of unfortunate incidents in Murphy’s checkered history with Oscar. He made waves when he presented Best Picture in 1988 saying he almost turned down the invite to do it and then chastized the Academy for their poor track record in nominating African Americans. In 2007, he bolted from the Kodak quickly after losing Best Supporting Actor for Dreamgirls to Alan Arkin, giving the impression, whether true or not, of being a spoiled sport. And now he’s left the Kodak again before even setting foot in it, this time and leaving the Academy in a lurch. Eddie made a round of talk-show appearances in the last two weeks telling every host how he was genuinely looking forward to doing the show — but apparently not without Ratner at the helm. I’m not sure he was fully aware of what he was expected to do, but he told reporters recently he “was not nervous,” On one show he was asked about doing a monologue but downplayed it, indicating he would do his style of comedy, maybe a couple of sketch-type things. I have the feeling Ratner was really hand-holding Eddie through this, and with him gone, the star’s confidence level also took a powder. Perhaps the reality of being adrift in the gig just wasn’t a career move Eddie wanted to make right now, particularly with his film Tower Heist — which represents a comeback of the “old Eddie” audiences once loved — underperforming at the box office against expectations and embarrassingly trounced by the second weekend of Puss In Boots. It’s a fact that the combination of a hit movie with Eddie back in form and the Oscar-hosting gig would have put his career back on course to the top. Now you can throw that “win-win” scenario out the window. It’s probably an understatement to say events this week have not resulted in the kind of career infusion Murphy and his handlers were hoping for. This is turning into complete chaos now for the normally cool-as-a-cucumber Academy. It’s like the whole show is publicly imploding, so it really needs to act very fast in getting a new producer to join Don Mischer and then a host. The producer chooses the host. The problem is the Ratner exit was big news in the industry but not to the public at large who loyally tune in to the Oscars to see their stars. Murphy’s exit is more troubling. His departure is big news and really put a face on this story that will get major attention. It’s not the kind of attention the Academy wants, however, which was clearly evident by the terse nature of Academy president Tom Sherak’s official statement this morning: “I appreciate how Eddie feels about losing his creative partner, Brett Ratner, and we all wish him well.” Right. The Academy, its board, new CEO Dawn Hudson and Sherak are facing a crisis they certainly don’t need at this time, and now just two weeks before Thanksgiving they are virtually back to square one. As I pointed out in my previous piece, the sudden death last week of 14-time show producer Gil Cates is really being felt now. He’s the one person who could have come in, immediately righted the ship, called Billy Crystal (he gave Crystal his first hosting shot of eight, on the 1990 show) and gotten this whole ugly incident out of the headlines quickly. He had the relationships and diplomacy to do that. Now come the bigger questions of who will want to come in as producer in this highly pressured situation and even more pressingly who will want to come in as host, a perceived second choice to Eddie Murphy? Would this be the way Crystal would want to come and host the show again, even as he has clearly indicated before the choice of Murphy that he would have been up for doing it. Even though the February 26 Oscarcast is still 3 1/2 months away, one person with intimate knowledge of how production schedules and Oscar shows work tells me this morning, “It’s a s*** show right now. They are incredibly behind.” To use the word “scrambling” might be an understatement. Suggestions for the Academy to get out of this mess, anyone? I am sure they are listening right now.

Romeo et Juliette

'Romeo et Juliette'An L.A. Opera presentation from the opera in five functions with music by Charles Gounod and libretto by Jules Barbier and Michel Carre. Completed by Placido Domingo. Directed by Ian Judge.Romeo - Vittorio Grigolo Juliet - Nino MachaidzeTo all people theater fanatics who never go to the opera, take note. Vittorio Grigolo within the L.A. Opera debut is delivering a lavish but absolutely sincere Romeo that recalls the youthful John Barrymore. OK, everyone knows Barrymore's Shakespeare work only from photographs, but Grigolo connects all people gloriously over-the-top romantic poses while using amazing sophistication from the trained dancer in this particular revival of Gounod's "Romeo et Juliette." To describe Tennessee Williams, who would like realism when you're able to have this kind of stage miracle? I enjoy that Grigolo provides a global-class voice, recognized within the Met and Covent Garden, and also the system from the professional soccer player? You will notice quibbling from some crix corners he is not an authentic French stylist. He's too unreserved a artist. Granted, his Romeo might be better offered if his vocal delivery wasn't as full tilt sometimes. The particular great factor relating to this tenor is dependant on his mezza voce, they spins by helping cover their an amazing legato. Who wouldn't visit his Faust or Werther? Grigolo's real fach is the verismo roles of Puccini, Giordano and Mascagni. But he's youthful, they can wait before he taxes his voice having a couple of of people heavier roles. At the risk of moving in france theyOrItalian language factor an excessive amount of, it's good to know that Romeo and Juliet can be a Verona-set story immortalized with the Bard and musicalized here by Gounod, which Grigolo and also the Juliet, Nino Machaidze, are Italian entertainers who bring the storyplot to the native land. Also to introduce another full circle, it's also appropriate that Grigolo's nearly nude love scene within Hollywood owes much to Franco Zeffirelli's 1968 "Romeo and Juliet" for Vital Pictures. Yes, there's much for non-operagoers. Machaidze's steely soprano weaves nicely with Grigolo's fine-grained tenor. She sometimes gives only an approximation in the role's requisite coloratura and her energy flagged inside the concoction aria, in people moments with Grigolo, she matches his emotionalism note for note. Placido Domingo takes a very stately grand opera approach to this less-than-genius work, with no dynamism of Grigolo and Machaidze to propel the music activity, the performance switches to automatic pilot whenever the supporting players take stage. John Gunter's iron-scaffold sets recalls the old Penn Station in director Ian Judge's clever update for the 1800s. Chorus entertainers wearing ring skirts needs to be advised walking up minimizing open stairs without submitting their under clothes, but otherwise, his direction produces beautiful stage pictures. Erection dysfunction Douglas choreographs some thrilling fights, and Judge's decision to own Romeo kill Tybalt (Alexey Sayapin) getting a gun instead of a knife fits straight into Grigolo's grand interpretation. This Romeo hates much like large while he loves.Sets, John Gunter, costumes, Tim Goodchild lighting, Nigel Levings choreography, Cat McNamee fight choreography, Erection dysfunction Douglas. Opened up up, examined November. 6, 2011. Running time: 3 Several hours, 15 MIN.With: Museop Kim, Vitalij Kowaljow, Vladimir Chernov, Alexey Sayapin, Philip Cokorinos, Renee Rapier, Ronnita Nicole Burns, Michael Dean, Ben Bliss, Daniel Remedy, Erik Anstine. Contact Robert Hofler at bob.hofler@variety.com

Chill hits L.A. production

Offlot feature filming has gone into the deep freeze in Los Angeles, with last week seeing the lowest level this year following two weeks of slow activity. The week's total of 67 days was six days lower than the mid-April frame and less than half of the same frame in 2010. Feature activity was a third of the 2011 highs for the year of 246 days and 229 days during the last two weeks of June. Warner Bros.' period drama "Gangster Squad," starring Sean Penn and Ryan Gosling, was the most active feature with 11 permitted days, according to figures provided Tuesday by the FilmL.A. permitting agency. Other features lensing in L.A. included "Coyote," "Lords of Salem," "Plan B.," "Seven Psychopaths" and "Violet." Total permitted production days declined 19% to 533 last week. TV shooting declined 31% to 398 days, with Little Pond's "Discover" the most active last week with 31 days. Other TV productions currently shooting in L.A. include "508/509," "American Horror Story," "Prime Suspect," "Ringer," "Southland," "Around the World in 80 Plates," "The Braxtons" and "Wreck Room." TV Reality days are less than half what they were last year for the same period, when TV shooting was far above typical levels. Commercial shooting was off 38% to 90 days with a Honda commercial shot racking up the most days at eight. Contact Dave McNary at dave.mcnary@variety.com

David Letterman, Kathie Lee Gifford Among Site visitors Throughout Regis Final Week On Live!

With Regis Philbin set disappear Live! With Regis and Kelly on November 18, the show has reserved “some of Philbins favorite site visitors and pals” for his final week. They include Philbin’s former co-host Kathie Lee Gifford (November 17), fellow talk-show hosts David Letterman (November 16) and Jimmy Fallon (November 14) additionally to Jesse Trump (November 15) and Don Rickles (November 14). Furthermore, every single day you will notice a distinctive musical tribute featuring entertainers for instance Tony Bennett, Bret Michaels and Josh Groban. Philbin’s last show continues to be billed becoming an hourlong tribute commemorating his nearly 3 decades on Live!.

Early Reviews of 'J. Edgar' Are In

So the reviews are in from last night's first public screening of "J. Edgar," and they are about what I expected: The film got mixed notices, but everyone agrees Leonardo DiCaprio is terrific in the title role. I tend to agree with Gregory Ellwood at HitFix, who believes it's going to come down to George Clooney vs. Leonardo DiCaprio for the role. In my opinion, Leo has the advantage. Clooney is quite good in an excellent film; DiCaprio is excellent in a mediocre movie. And he gets a lot to dig into: as the FBI Director, DiCaprio gets to play gay, deliver speeches penned by Oscar-winning screenwriter Dustin Lance Black, and die. That's a pretty great trifecta.READ THE FULL STORY IN THE BEHIND THE SCENES BLOG

Weekend Receipts: Puss in Boots Claws its Sometime Ago to First

Listen carefully and you'll hear the womp wooommp being launched of Universal HQ from miles away — that’s the refrain throughout your day as Tower Heist underperformed its distance to second place behind the incredibly resilient Shrek spinoff Puss in Boots. Faring additionally to may be reasonably expected in films’ shadows, uncover the most recent Harold & Kumar installment. Your Weekend Receipts are here. 1. Puss in Boots Gross: $33,000,000 ($75,500,000) Screens: 3,963 (PSA $8,927) Days: 2 (Change: -2%) First, I must admit that we was wrong the other day when since the crowd with this particular film. It’s bigger than my hunch allowed, which i am sorry for you personally, to Jeffrey Katzenberg, to Antonio Banderas and everyone upset by my gross misjudgment. Since we’ve removed that up, holy shit, America, a few percent drop? I realize this nation loves its 3-D animated saber-transporting feline Lotharios and everything, but wow. Anyway, DreamWorks Animation might as well get yourself a Donkey spinoff going, because… 2. Tower Heist Gross: $25,100,000 (new) Screens: 3,367 (PSA $7,454) Days: 1 …Eddie Murphy needs a little more muscular image boost while watching Oscars. Brett Ratner’s mix-marketing awardscast/blockbuster master plan's searching as being a whiff presently it couldn’t have happened with a better guy, either. Ahem. Ron Meyer holding online one. 3. A Very Harold & Kumar 3-D Christmas Gross: $13,100,000 (new) Screens: 2,875 (PSA $4,556) Days: 1 Don’t permit the middling per-screen average fool you: As films inside the burgeoning “Get the Toddler High” subgenre of stoner movies go, this is often a box-office milestone. Not remote: Three Males together with a Crack Baby. In 3-D! 4. Paranormal Activity 3 Gross: $8,500,000 ($95,300,000) Screens: 3,286 (PSA $2,586) Days: 3 (Change: -54%) Whatever. 5. With Time Gross: $7,700,000 ($36,000,000) Screens: 3,127 (PSA $2,462) Days: 2 (Change: -36%) Not always a poor hold for week two — plus it didn’t even need 3-D or possibly the cat getting a sword or possibly several inside the title. I guess I owe Justin Timberlake an apology now, too. My bad, JT! You have to still produce a new album, though. Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitter.