NBC bets the nest on 'Smash'

'Smash' Katharine McPhee takes on the role of a struggling singer out to achieve stardom.The creative team behind 'Smash.'"Good for them," Theresa Rebeck thought when she read in Variety that Steven Spielberg had sold a drama series at Showtime revolving around an effort to mount a Broadway musical.Rebeck, a playwright, novelist, TV and film scribe, had pitched a similar concept to various networks over the years, to no avail. When she learned in November 2009 about the project DreamWorks TV had in the early stages of development at Showtime, she felt vindicated that her idea had been a good one, and happy that someone was finally tackling an arena that she knew to be full of potential for TV.What Rebeck didn't know was that she would be the one tasked with getting the show on its feet for Spielberg and his tuner team of producers Craig Zadan and Neil Meron and composers-lyricists Marc Shaiman and Scott Witt-man. Nor could anyone have predicted that the ambitious venture destined to become "Smash" would eventually migrate from Showtime to NBC along with its biggest champion, Bob Greenblatt.The NBC Entertainment chairman's faith in "Smash" is evident by just how much the network is banking on the show to make a much-needed midseason splash in its Feb. 6 premiere, the night after the Peacock's telecast of the Super Bowl.NBC desperately needs the show -- toplined by Debra Messing, Christian Borle, Katharine McPhee, Jack Davenport and Megan Hilty -- to deliver an audience, but it is also counting on "Smash" to generate the kind of qualitative raves that have been few and far between for the network's programming in recent years. The Peacock is throwing every resource it has at the "Smash" launch, starting with the decision to sked it in the Monday 10 p.m. slot behind returning reality hit "The Voice." NBC's struggles in the first half of the season have only heightened the stakes for the return of "Voice" and the bow of "Smash."Rooted in the lives of the key players developing a Rialto tuner about Marilyn Monroe, "Smash" is a high-wire act of a show-within-a-show, enhanced by at least one original song per episode, song-and-dance numbers and location lensing throughout Gotham. (Some have dubbed it "The West Wing" with music.)The show, produced by Universal TV and DreamWorks TV, costs just under $4 million per seg, according to industry sources, a hefty sum for a first-year skein. But "Smash" demands the talents of legit pros and below-the-line specialists that aren't required on the typical network crime procedural."Smash" is rooted in a world Greenblatt knows intimately. He's a lifelong theater enthusiast who produced the Broadway adaptation of the film "9 to 5" in 2009 (as a sideline to his then-day job as Showtime entertainment prexy)."There is nothing that gets people galvanized and excited quite like a musical," Greenblatt says. "Everybody involved has to be energized about it, and then you add the songs and the choreography. It's very physically demanding to do a musical, and that energy gets everybody really excited."The success of Fox's "Glee" helped take the "Cop Rock" sting out of the notion of a series incorporating musical elements. But "Smash" ups the ante with the original music designed to coalesce by the end of the season into a cohesive musical.As "Smash's" creator and showrunner, Rebeck has not only crafted the story arc for the show's 15-episode frosh season, she's also written the book for an original tuner dubbed "Marilyn.""It's very much an 'Upstairs, Downstairs' kind of world, but instead of a mansion, it's a musical," Rebeck says.The production of each episode is complex, as the musical numbers are frequently shot out of sequence at various stages in Gotham, while the scripts for each seg have to be in shape early enough to allow Shaiman and Wittman, the tunesmiths behind "Hairspray," to deliver songs that have to pass muster with producers. There's a dance unit that almost always works separately on choreography with a regular troupe of hoofers as well as day players.The show's conceit requires that Broadway-caliber production numbers be staged with theatrical authenticity, but then filmed for the smallscreen. In addition to the original songs, there's at least one cover performed in most segs. Amid all of this activity, McPhee and other key actors have to find the time for studio recording sessions for the songs that will be released via Sony Music, which has logged big sales in the past three years with its parade of "Glee" hits."Whenever you do anything musical, there are a million challenges," says Meron. "We like to think of it as producing a gigantic action film. There are so many moving parts, so many details that must be taken care of. Scheduling is the biggest challenge. We are sometime shooting more than one (dramatic) segment at a time. One day you'll be shooting a musical sequence for the second episode, and the next day you'll be working on one for the fifth episode with a different director."To pull it off, Spielberg and his top TV lieutenants, DreamWorks TV toppers Justin Falvey and Darryl Frank, recruited from a short list of creatives with the experience that bridges both mediums.The first phone call after Showtime expressed interest in Spielberg's concept went to Zadan and Meron, whose resume hit the bull's-eye thanks to their varied track record with musical TV specials such as ABC's "Annie" and "Cinderella," telepics and drama series including Lifetime's "Drop Dead Diva" and film tuners including "Hairspray" and "Chicago." If that weren't enough, the duo were then in the midst of the launching the Broadway revival of "Promises, Promises.""If you start from the theory that the most difficult thing to produce well is a one-hour weekly drama, and you add all the elements we have (on 'Smash'), this is without a doubt going to be one of the most ambitious shows the audience has ever seen," Zadan says.Shaiman and Wittman were also in from the beginning, having responded immediately to the initial overture that came in a phone call Zadan and Meron made from Spielberg's office. The tunesmiths had some experience with Spielberg from working on the stage musical rendition of his 2002 pic "Catch Me if You Can."Rebeck was also a natural choice. The prolific playwright has an extensive background in TV drama from her years as a writer-producer on such series as "Law & Order: Criminal Intent," "NYPD Blue," "Third Watch" and "L.A. Law." She also knew Greenblatt, Zadan and Meron from her professional travels over the years."It was pretty exciting when they came looking for me," she says.While Rebeck began navigating the "Smash" sked this summer, she was busy preparing for the November bow of her Broadway play, the dark comedy "Seminar," starring Alan Rickman. It was her previous Off Broadway play, the backstage Broadway drama "The Understudy," that convinced Spielberg she was the woman for the job.Beyond the exec producers, "Smash" has reached deep into Gotham's legit scene for cast and crew members. Director Michael Mayer, whose credits include "Spring Awakening" and "American Idiot," had never done any TV before he was tapped to direct the "Smash" pilot last year, as well as its second and third episodes.Mayer enlisted choreographer Joshua Bergasse (who danced in Shaiman-Whittman's "Hairspray") to conceptualize "Marilyn's" dance numbers. They tapped Bernard Telsey, the dean of legit casting in Gotham, to spearhead lining up the talent for a show that demands a high volume of guest stars and day players with legit experience. Lighting designer Donald Holder is a Rialto vet with credits ranging from "La Cage aux Folles" to "Spider-Man: Turn Off the Dark.""Because so many of us who are making this show spend our lives primarily in theater, it's really important to all of us that the audience see the ways in which people dedicate their lives to this very unique art form," Mayer says. "My hope is that people will be turned on to the creative process, as well as (be given) a glimpse of what it's like to be a writer, director, choreographer or dancer watching these numbers come to life in a rehearsal space. "Like others on the "Smash" team, Mayer juggled other Broadway duties while working on the show as he prepped for the December opening of the revival of "On a Clear Day You Can See Forever" with Harry Connick Jr. Looking at musical numbers through a TV lens gave him a deeper perspective."We stage ('Smash') as though these were being done for a Broadway show, but then we get the thrill of jumping inside the heads of people and give the audience another perspective that only the medium of film can deliver. In theater, you can't be in more than one place at a time -- there's just one frame and everything happens inside it. In film, you can jump inside, outside, back and forth. It's a very visceral experience."Besides McPhee, Jim Chory, the line producer and co-exec producer, marks a rare exception to the steeped-in-stage curriculum vitae of the "Smash" principals. His job is even more challenging than usual because of all the sked juggling and cross-boarding done to accommodate the tuner aspects of the show, but his background working on vfx and action-intensive shows like "Heroes" and "The Event" was good training.Rebeck and her fellow exec producer David Marshall Grant and the writing staff also face intense pressure to go above and beyond the typically punishing sked of a weekly drama series."There are about six extra steps that you have to take on each episode," Rebeck says. "The biggest challenge is that you can't change your mind, you can't hesitate, and you have to commit to all your story (points) earlier on. That's been a trick to figure out, because the thrill of TV is that as you're on the ride, a character or a storyline will really pop. For us it's really hard to move things around, but we still need to be able to accommodate that if it happens."(Mayer notes that his assistant director on two episodes, Luis Nieves, came to "Smash" from USA Network's high-octane drama "Burn Notice." "He thought he was prepared for anything after all those explosions, and after two days he said to me 'Oh my god, singing and dancing is so much harder.' ")From the start, the creative vision for "Smash" was to ground the series in the universal themes of ambition, aspiration and drive, rooted in the colorful clutch of characters who have to come together to get a Broadway musical off the ground -- the test of wills that it takes to get it launched, and then the even longer odds that the show will have more than a fortnight in the footlights.Spielberg and Co. were committed to making it absolutely Shubert Alley-authentic, but without being so inside the proscenium as to turn off viewers who have never set foot in a Broadway theater. It's a tricky balance."We never want this show to become 'Entourage.' We never want it to be totally insular to the theater community, so that even if you have no interest in Broadway you could still love this show," Zadan says. "We've all been watchdogs on the scripts. Every time it starts to veer into the direction of being too theater-oriented, we remind ourselves to broaden the base and go to the personal stories."The show's move from Showtime to NBC wound up helping its producers keep the focus on the broader dreamers-and-schemers theme. The initial draft of the pilot that Rebeck wrote for Showtime featured the same group of characters and "Marilyn" concept, but it was darker and edgier in the way pay TV fare demands. The need to make "Smash" work for the traditional upscale NBC drama aud has helped keep the focus on the characters and their motivations."When it was Showtime, it was darker and a little bit more cynical. And honestly, it didn't need that," Greenblatt says. "I was happy to take another look at it in the broadcast venue. It's a hopeful story that portrays the power of true optimism, which I think is a very welcome (sentiment) in our country today."Although the musical is the fulcrum of the show, Rebeck has no plans for an episode that features the "Marilyn" tuner from start to finish. "What we want you to see is the musical as something that is part of the lives of the people who are creating it," she says. (It's unclear where the storyline will go if the show is renewed for a second season.)Greenblatt says he thinks the prevalence of reality shows that has created celebrities out of everyday folks in recent years sets the stage nicely for viewers to latch onto "Smash" and the quest of McPhee's struggling singer Karen Cartwright to achieve stardom via "Marilyn." It's no accident that "Smash" will air in tandem with "The Voice," which proved a surprise hit for the Peacock last spring. And of course, McPhee got her start as a contestant on Fox's "American Idol."" 'Smash' is little bit like a scripted version of 'The Voice,' where out of obscurity someone is given a platform and suddenly everyone's talking about that person," Greenblatt says. "We want to tap into that exhilaration and the highs and lows of performing. The audience may learn a little bit about how a musical is put together, but that is not the main intention. We want the audience to be carried along by the drama and the passion and the excitement of it all."Sam Thielman contributed to this report. Contact Cynthia Littleton at cynthia.littleton@variety.com

Celebrity Chefs Share Holiday Memories, Recipe Twists and Cooking Tips in Our Holiday Eats Series

Rachel Ray What are the holidays without great food? TVGuide.com has gathered some of the best chefs, including Rachael Ray, Tom Colicchio, Ted Allen, Tyler Florence and Michael Symon, to tell us their favorite holiday cooking memories, how to put a twist on a traditional recipe, and their biggest tips for a successful feast. So make sure to watch all our videos below and tell us which dishes you plan on making throughout the holiday season! Holiday Eats: Chefs share their holiday cooking memories Holiday Eats: Chefs share their twists on traditional holiday recipes Holiday Eats: Chefs share their cooking tips for preparing your holiday meal Holiday Eats: Top Chef's Hung makes a simple stuffed lobster

There is a Leaked Prometheus Trailer, and It Is Kind Of Awesome

Earlier today 20th Century Fox unveiled a shiny new look at Michael Fassbender in Ridley Scott’s 2012 Alien related event pic Prometheus (via Empire), all blond and space-suited. Exciting! As if that wasn’t enough to get your juices flowing, an unofficial version of the first trailer for the sci-fi thriller oozed onto the interwebs mere hours ago, and although it’s shaky-cammed with fuzzy audio and is even labeled “Leaked”… it’s kind of adrenaline-pumpingly awesome. So here comes the tricky part of it: Movieline does not embed leaked materials, so you’ll have to link out to find the video yourself. Consider the ambiguous Dragon Tattoo “leak” earlier this year; with studios increasingly seeking to hit viral status with their marketing campaigns, it’s more and more difficult to know which leaks are true and which are intentional. But this much is certain: If this is indeed Fox’s first Prometheus trailer (the studio’s been teasing a trailer premiere for days, to hit Apple iTunes on Thursday), and it looks this awesome on a shaky screen within a screen on your computer monitor, it should look amazing projected in theaters. Dark, ominous space cruisers, slick inky production design, the scope of the alien world, and that soundscape — all pulsing, pounding Inception “BROOOOOOOOM”s and hydraulic screams… I can’t wait to see this in HD, and I’m only talking about the trailer. (Much of the footage seen here can already be glimpsed in the two 30 second teasers-to-the-trailer premiere currently up at Apple, along with commentary from Ridley Scott.) The synopsis for Prometheus, in theaters June 8 2012: Ridley Scott, director of Alien and Blade Runner, returns to the genre he helped define. With Prometheus, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race. [Vimeo]

Kobe Bryant's Wife Files for Divorce

Vanessa Bryant and Kobe Bryant Kobe Bryant's wife, Vanessa, declared divorce within the Opponents basketball star Friday, stating irreconcilable versions, TMZ.com reviews. Vanessa, who's been married to Kobe more than 10 years, apparently made a decision to complete the marriage because she thinks her husband remains disloyal to her. In 2003, he was billed with sexually attacking a 19-year-old hotel worker Kobe recognized to have an adulterous sexual encounter, but declined her sexual assault allegation. See the relaxation of current day news Vanessa is asking for joint custody of the children from the children in the couple's children, Natalia, 8, and Giana, 5. She's also asking the judge to grant her husband visitation rights privileges rights, too for spousal support, which Kobe has made the decision to. The happy couple apparently never signed a prenuptial agreement, which enables Vanessa to half of her husband's earnings within the last 10 years.

Thesps up f/x respect

Andy Serkis in his motion capture suit on the set of 'Rise of the Planet of the Apes'Chris Evans was shrunk to 'Skinny Steve' size in 'Captain America.'Visual effects have long been the province of engineers and technicians, but with digital characters coming to the fore, actors are more and more a part of the vfx process.The change arguably began with Andy Serkis' unforgettable turn as Gollum in "The Lord of the Rings" trilogy, and accelerated through several recent vfx Oscar winners: "King Kong," "The Curious Case of Benjamin Button" and "Avatar."2011 saw the relationship between acting and effects deepen. "Rise of the Planet of the Apes" put Serkis' performance capture role as Caesar, a genetically enhanced chimpanzee, at the center of the drama. "Real Steel" captured performers movements two different ways to bring its robots to life. "Captain America: The First Avenger" offered up the striking "Skinny Steve" effect, which shrank burly Chris Evans down to the proverbial 98-pound weakling.Serkis says that while performance capture has become very good at recording an actor's performance on the set, it has an advantage over photography: "Nothing is locked.""All the emotional indications of that performance are information for the animators to use and also to interpret," says Serkis. "Every frame is animated. The actors indicate an emotional moment and the animators and the director can either exaggerate that moment or play the moment more subtly. It's such a brilliantly malleable medium."In his original turn as Gollum, before facial capture technology, Serkis worked closely with the animators at Weta Digital, re-performing scenes so they had good reference footage of his face."It's become much more of a transparent process," he says. "You're just being that role now, but I suppose in the early days it required a slightly wider, broader engagement with the character and being the guardian of that character's emotional journey."That doesn't mean thesps have given up that guardian role. On "Captain America" Lola Visual Effects offered the choice of creating "Skinny Steve" with either "Benjamin Button" style head replacement or a more difficult process: digitally shrinking Evans. Helmer Joe Johnston and Evans agreed the shrinking process was best."Chris could identify the subtleties in his body performance so he was always driving us to use the shrinking technique," explains vfx producer Thomas Nittmann of Lola. "The way he walked down a platform, he wanted it to be him."When there was no choice but to use a body double, they did face replacement. Evans himself came to record his facial performance, and that was grafted onto a slender double.On "Real Steel," Digital Domain had a different challenge: making the robots, which were animated with performance capture, look properly mechanical.Erik Nash, visual effects supervisor on the pick, says "a lot of the subtle human nuance, which is one of the reasons to do motion capture, we had to filter out so that the robots looked like robots, not like people."Boxers and stunt men did the robot boxing scenes in performance capture suits, with one performer assigned to each robot. That gave it a unique personality and movement style. Those scenes were shot three months before principal photography started.When the robots had to interact with live actors, DD used Image-Based Capture where they shoot the scene with several reference cameras. Performers played the scenes standing on painters' stilts to raise themselves up to the proper height and give the actors the correct eyeline. When Hugh Jackman shadowboxes with the robot Adam outside a motel, performer Eddie Davenport rehearsed with Jackman, then shot the scene wearing stilts. Afterward animators needed only make small tweaks to their timing.Nash recounts "It was remarkable to see because they were so well rehearsed and so dead in sync. We knew as we shot it the sequence was going to be terrific. Hugh could go through the punch sequence as fast as he wanted and Eddie was right with him."Eye on the Oscars: Vfx, Sound & Editing Thesps join f/x party | Longtime teams keep work fresh | Randy's Rules for top sound | Sound editing: Always make dramatic sense | Sound Mixing: Making it all feel real | Digital tools add quality, cut costs Contact David S. Cohen at david.cohen@variety.com

Dick Van Dyke and Mary Tyler Moore to Reunite at SAGs

Dick Van Dyke, Mary Tyler Moore Dick Van Dyke will reunite together with his former co-star and television wife, Mary Tyler Moore, in the SAG Honours, where he'll present her using the guild's 48th Existence Achievement Award, executive producer Shaun Margolis introduced Wednesday.Modern Family rules SAG nominationsThe 86-year-old Van Dyke and Moore, 74, performed Take advantage of and Laura Petrie around the Dick Van Dyke Show (1961-66) before she continued to star within the Mary Tyler Moore Show.Moore, who captured made an appearance on Hot in Cleveland, has seven Emmys and Tony. Past readers of SAG's Existence Achievement Award include Betty Whitened, Clint Eastwood and Bette Davis.Jane Tyler Moore to get SAG Lifetime Achievement AwardThe 18th annual Screen Stars Guild Honours is going to be broadcast live Sunday, Jan. 29 at 8/7c on TNT and The best spinner's.

Haunted Child

Sophie Okonedo and Ben Daniels in "Haunted Child."A Royal Court Theater presentation of a play in two acts by Joe Penhall. Directed by Jeremy Herrin. Julie - Sophie Okenedo Douglas - Ben Daniels Thomas - Jack Boulter/Jude CampbellDread-filled worry generated by helmer Jeremy Herrin's spellbinding cast creates almost palpable static in the mysterious first act of Joe Penhall's "Haunted Child," when formerly missing Douglas (Ben Daniels) returns home unexpectedly a severely changed man. Sadly, it's the other sense of "static" that dominates the disappointing second act in which Douglas tries to persuade his wife and young son of the virtues of his new beliefs, which challenge everything about their lives. The opening scenario of a little boy (Jack Boulter at the performance reviewed) telling his mother Julie (Sophie Okenedo) in plaintive tones that he thinks he has seen and heard a ghost in their otherwise empty house is upsetting. Julie is placating but beneath her soothing tones it is horribly evident that something at home has gone seriously awry. The mood, perfectly caught, points to Penhall's typically effective economy of means. Then, just as audiences are puzzling out what might be happening, Penhall springs a surprise with a sudden reveal of Douglas, bare-footed, scrawny and strung-out. His startling reappearance at this early stage piles on the questions for both his family and the audience. Penhall maintains tension by very gradually feeding facts into the situation. Increasingly exasperated Julie forces unwilling Douglas to reveal the idealism underpinning the "Group" he has joined in his surprising spiritual quest. Is it a collective of people dedicated to abnegating the modern, materialistic self, or a bunch of deluded or downright dangerous obsessives? Problematically, Penhall chooses to stack his argument in one direction only. The potential validity of Douglas's spiritual questioning is sabotaged by the decision to have Douglas, its new disciple, paint the group as extreme charlatans. What's still more fatal in dramatic terms is that the group only exists via ceaselessly expository description (in Douglas' fevered account) as opposed to being part of developing stage action. Daniels' mesmerizing, frightening performance of a man fighting against physical and mental breakdown wins enormous sympathy, but his plight does not. Part of that also has to do with Penhall's refusal to allow audiences to see why and how Douglas came to be in this position. You don't have to subscribe to a need for sentimental, over-written backstory to see that a dilemma with huge thematic weight attached to it needs to come from somewhere recognizable. Herrin is, however, alert to Penhall's strengths. He directs as if with a magnifying glass to seek out the minute calibrations of emotion beneath the surface of the dialogue. And while keeping a lid on any kind of overstatement from his cast, he ensures that the breadth of emotion in the writing -- which includes surprising humor -- is honored by the actors. The title suggests the play's focus is on the effects on the child of the parental war. Disturbing though Douglas' well-intentioned behavior undoubtedly is, that emphasis on the boy is actually off-center in terms of the play's construction. It's a further indication that Penhall's writing is disappointingly undermined by underplotting. The result is frustrating, because the acting throughout is so fine.Sets, Bunny Christie; costumes, Christie and Iona Kenrick; lighting, Jean Kalman; sound, Ian Dickinson; production stage manager, David Young. Opened, reviewed Dec. 8, 2011. Running time: 2 HOURS. Contact David Benedict at benedictdavid@mac.com

Phil Isaacs dies at 89

Phil Isaacs, a film distribution and theater chain executive who was simply furthermore a pioneer in the development of pay television, died of natural causes on 12 ,. 2 in Woodland Slopes, Calif. He was 89. As v . p . of Worldwide Telemeter Corp., a company operated by Vital Pictures to understand a pay TV system, Isaacs carried out an important role in 1960 in creating and controlling a closed-circuit experimental pay TV station inside the Toronto suburb of Etobicoke. He appeared to become associated with finding programming for your service, signing up the Toronto Argonauts in the Canadian Football League, the away games in the Toronto Walnut Leaf hockey team, and Chicago's Second City films came from from Vital. Charges for programming round the three-funnel system were collected utilizing a gold gold coin box placed in subscribers' houses. Though a commercial failure, the Etobicoke operation set happens for cable television too for pay channels for instance Cinemax and Showtime. In the varied four-decade career inside the film industry, Isaacs offered just like a producer's representative for Woodsy Allen movies, including "Hannah and Her Brothers and sisters," to ensure that as V . p . accountable for West Coast methods for General Cinema Corp., the exhibitor acquired by AMC Theaters in 2002. Philip Isaacs was produced inside the Bronx and graduated within the City College of NY. Right after returning from Navy service from 1943-46, he got his first job just like a booker's assistant at Vital in NY. He subsequently elevated to branch manager in Washington, D.C., mind in the Rocky Mountain division and Eastern-Southern sales director. In 1967, he grew to become part of Cinema Center Films as V . p . of domestic distribution in 1972 he was named V . p . of promoting at Tomorrow Entertainment. Subsequent posts incorporated V . p .-general sales director of Avco Embassy in 1975 in addition to Orion Pictures in 1980 V . p .-general sales director after which it leader of TWE Theatrical in 1988. After becoming leader of South Gate Entertainment in 1989, he outdated. Isaacs was area of the executive branch in the Academy of motion Picture Arts & Sciences along with the Film Pioneers. Children include Isaacs' second wife, Rusty Stein Isaacs three kids two stepdaughters together with a brother. Donations may be made to the Film and television Fund. Contact Variety Staff at news@variety.com

'The Iron Lady' Trailer: Meryl Streep Gets the Courage with this particular Fight

.publish-content img Because the Uk trailer for 'The Iron Lady' relied on some pop-culture staples (Madness's 'Our House' just like a music signal, for instance), this brand-new trailer keeps things taut and high and keep focused round the film's star attraction: Meryl Streep. La Streep hasn't won an Academy Award since the 1984 occasions (on her behalf role in 'Sophie's Choice'), but using the early buzz which new clip, the most effective Actress trophy may be hers to eliminate on Oscar evening. Streep stars as Margaret Thatcher in 'The Iron Lady,' and not only mimics the prior British pm with seeming expertise, but furthermore infuses the steely world leader after some of wounded humanity. The final results speak by themselves -- no less than in trailer-form Viola Davis and Michelle Williams better hope Streep twists an ankle to be able to the Kodak Theater stage on Feb. 26. 'The Iron Lady' opens in limited release on 12 ,. 30. Follow Moviefone on Twitter Like Moviefone on Facebook

Shailene Woodley: Clooney Trained Me How To Be A Much Better Individual

First Launched: December 6, 2011 4:27 PM EST Credit: Access Hollywood Caption Shailene Woodley stops by Access Hollywood Survive December 6, 2011LOS ANGELES, Calif. -- George Clooney stood a major impact on the presence of his The Descendants co-star, Shailene Woodley. Hes really trained me how to be a much better individual throughout this process. Hes so grounded and generous and grateful he emanates the word gratitude, the actress told Billy Rose rose bush and Package Hoover on Tuesdays Access Hollywood Live. Hes awesome and hes so lower to earth that there's no violence factor. The youthful star mentioned her The Descendants family people happen to be very encouraging throughout her rise to silver screen fame. [George and director Alexander Payne] happen to be such great mentors and kind of guiding me in order to, the 20-year-old, most broadly known on her behalf role on ABC Familys The Important Thing Existence in the American Teen, ongoing. While using accolades already moving inside the actress only decided to be granted the country's Board Of Reviews Best Supporting Actress award Shailene remains consuming most the excitement. Its crazy, its surreal, certainly I merely feel so grateful, she told Billy and Package in regards to the buzz on her behalf performance, which includes rumblings from the Oscar nomination. Even though the star might be the talk of Hollywood, the actress mentioned she'd really rather prefer to spend her time outdoors in the limelight. Honestly I used to be just would rather be wearing no makeup, hiking somewhere inside the hills, than prone to boat lots of parties constantly, she added. For further with Shailene including her parents three rules to keep her grounded, Follow The Link! The Descendants is at theaters now. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Box Office Report: 'Twilight' Leads Second Slowest Weekend of 2011 With $16.9 Mil

The post-Thanksgiving hangover was worse than usual for the domestic box office.our editor recommends'Twilight: Breaking Dawn' Causing Seizures in U.S. Moviegoers'Breaking Dawn' Wedding: Luxury Brand Product Placement Draws Criticism For Mis-Targeting 'Twilight: Breaking Dawn's' Taylor Lautner on His Most Challenging Scene and Jacob's Massive Transformation (Video) Related Topics•Box Office Updates•Twilight With no new wide releases this weekend, revenues came in at $78 million to $82 million, the lowest of 2011, save for the weekend after Labor Day, when the domestic box office took in roughly $81 million. The weekend was also down from last year by 4 percent to 7 percent. Summit Entertainment's The Twilight Saga: Breaking Dawn--Part 1 had no trouble retaining the No. 1 crown for the third weekend in a row, grossing $16.9 million for a domestic cume of $247.3 million. The fourth installment is still pacing slightly behind The Twilight Saga: New Moon, which opened over Thanksgiving in 2009. At the same point in its run New Moon had earned $255.4 million domestically. VIDEOS: THR's Awards Season Roundtable Series 2011: The Directors Among the flood of Thanksgiving family films, Disney's The Muppets remained the top choice, grossing an estimated $11.2 million for a hearty domestic cume of $56.1 million to come in No. 2. Overseas, the pic grossed $1.8 million from three markets for an early international total of $4 million and world cume of $60.1 million. However,Muppets fell off nearly 62 percent from last weekend in North America. There's always a fall off after Thanksgiving, but the movie's dip was more than expected and could reflect the deluge of family product. Last year, Disney's Thanksgiving entryTangledfell 55 percent in its second weekend. Sony and Aardman Entertainment's kids entry Arthur Christmas came in No. 4, grossing $7.4 million in its second weekend for a cume of $25.3 million. Sony insists the pic will have especially strong legs because of its holiday theme. One possible sign backing up Sony's claim--Arthur was up 111 percent from Friday to Saturday, the largest gain of any film in wide release. Overseas,Arthur Christmasgrossed $11.4 million from 53 markets for a pleasing international total of $45.3 million and global cume of $60.1 million. The 3D pic has done especially well in the U.K., where Aardman is based. DreamWorks Animation and Paramount's 3D toon Puss in Bootsalso continues to prosper overseas, grossing $23 million from 26 countries this weekend for an international total of $89.2 million and global cume of $228.7 million. The pic has been a massive hit in Russia, where it's earned a record-breaking $50 million. It's also done well in Spain, despite widespread unemployment. If there was any action at the domestic box office, it was among awards contenders--including the debut of Steve McQueen's Shame, rated NC-17 for its edgy sexual content. PHOTOS: Films that Narrowly Avoided an NC-17 Despite the dreaded rating, Shame scored the top location average of the weekend, a notable feat. The film, distributed by Fox Searchlight and starring Michael Fassbender, grossed $361,181 from 10 theaters in Los Angeles, NY and San Francisco for an average $36,118. Even the top 10 box office chart included award hopefuls. Paramount and GK Films' Hugo--Martin Scorsese's first 3D family friendly film--moved up the chart to No. 3 as it expanded into an additional 500 theaters after being named best movie of the year by the National Board of Review. Hugo grossed $7.6 million from 1,840 locations for a cume of $25.2 million. COVER STORY: Martin Scorsese Talks 'Hugo,' How His 12-Year-Old Rules the Roost Alexander Payne's The Descendants, headlining George Clooney, landed at No. 7, even though playing in only 574 theaters. The Fox Searchlight film grossed $5.2 million for a cume of $18.1 million--becoming the first platform release in history to cross $10 million in only 12 days. Also, Descendants is the top grossing platform release of2011 after Woody Allen's Midnight in Paris, which cumed $55.7 million domestically. Sony Pictures Classics' Midnight in Paris, released in late May, made its own play this weekend as it prepares for awards season and the release of the DVD on Dec. 20, going back into more than 260 theaters. The results were tepid at best, with the film earning $274,518 from 305 locations for a location average of $900. The Metropolitan Opera continued its successful live theatrical program with Saturday's broadcast of Handel's Rodelinda, starring Renee Fleming. The broadcast grossed $1.8 million from 850 screens at the domestic box office, while an additional 45,000 people saw the opera on 500 screens in 38 countries. Domestic Box Office Dec. 2-Dec. 4. Title/Weeks in Release/Studio/Theater Count/Weekend Total/Cume 1.The Twilight Saga: Breaking Dawn--Part 1(3), Summit/4,406,$16.9 million, $247.3 million 2.The Muppets(2), Disney/3,440,$11.2 million, $56.1 million 3.Hugo(2), Paramount/1,840,$7.6 million, $25.2 4. Arthur Christmas(2), Sony/3,376,$7.4 million, $25.3 million 5. Happy Feet Two(3), Warner Bros./3,536,$6 million, $51.8 million 6.Jack and Jill(4), Sony/3,049,$5.5 million, $64.5 million 7.The Descendants(3), Fox Searchlight/574,$5.2 million, $18.1 million 8.Immortals(4), Relativity Media/2,627,$4.4 million,$75.6 million 9.Tower Heist(5), Universal/2,404,$4.1 million, $70.8 million 10. Puss in Boots(6), Paramount/DreamWorks Animation/2,750,$3.1 million, $139.5 million Related Topics Robert Pattinson Box Office Kristen Stewart The Muppets Shame Hugo

Strikes, Demand Boycott Threatened at New york city Opera

NY (AP) NY City Opera declared an impasse Thursday in contract discussions with unions because of its performers and music artists, threatening to provide its abbreviated season without one.The unions for that company's performers, chorus and ballet ballroom dancers responded by saying they might strike, plus they requested people and companies to boycott purchasing tickets and withhold donations to the financially troubled company.Gm George Steel stated the town Opera planned to provide a season "some way."In reaction, "We'd tell our people they cannot work," Alan Gordon, national executive director from the American Guild of Musical Artists, stated throughout a mobile phone interview. "Maybe George will sing?"The unions filed an unfair labor practice charge using the National Labor Relations Board in May, 1 week after the organization introduced it had been departing Lincoln subsequently Center for that Carrying out Arts, its home since 1966. The NLRB hasn't ruled around the charge, which alleged management unlawfully made the decision on the go without negotiating. The unions say they'll file another charge over new work rules.Founded as "the individuals opera" by Mayor Fiorello LaGuardia in 1944, City Opera spent decades across Lincoln subsequently Center Plaza overshadowed through the Metropolitan Opera. Still, it assisted build the careers of Beverly Sills, Placido Domingo and Renee Fleming, also it typically presented 12-16 operas having a peak around 130 performances inside a season.The organization introduced in 2007 that Gerard Mortier would become gm for that 2009-10 season, but he backed in 2008 after worrying he wasn't given an adequate budget. The organization skipped the 2008-9 season at Lincoln subsequently Center due to the renovation of their theater, then presented an abbreviated schedule of 5 operas and 33 performances last season.Because the spring, City Opera has removed 42 percent of their administrative staff.City Opera, which claims deficits of $44 million on the decade, introduced in This summer an agenda of 4 operas at three venues from Feb to May the coming year.Based on the implemented terms, acquired through the Connected Press, there'd be no salary increase this year, single percent raise in 2012-13 along with a 2 percent boost the following season.Inside a letter to contributing factors, Gordon stated a strike against all performances was likely, and that he advised the general public to not buy tickets."You have to be conscious that every dollar that you simply lead to City Opera has been wasted," Gordon authored. He stated "it might be a travesty to permit the itinerant, small-scale opera company" to perform "in bizarre venues with volunteer and student performers."Chuck Wall, who grew to become the business's chairman last December, stated "the board is 100 % devoted to ongoing the job of City Opera and that we anticipate ongoing to utilize our contributing factors."Copyright 2011 Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten, or redistributed. By Ronald Blum December 2, 2011 NY (AP) NY City Opera declared an impasse Thursday in contract discussions with unions because of its performers and music artists, threatening to provide its abbreviated season without one.The unions for that company's performers, chorus and ballet ballroom dancers responded by saying they might strike, plus they requested people and companies to boycott purchasing tickets and withhold donations towards the financially troubled company.Gm George Steel stated the town Opera planned to provide a season "some way."In reaction, "We'd tell our people they cannot work," Alan Gordon, national executive director from the American Guild of Musical Artists, stated throughout a mobile phone interview. "Maybe George will sing?"The unions filed an unfair labor practice charge using the National Labor Relations Board in May, 1 week after the organization introduced it had been departing Lincoln subsequently Center for that Carrying out Arts, its home since 1966. The NLRB hasn't ruled around the charge, which alleged management unlawfully made the decision on the go without negotiating. The unions say they'll file another charge over new work rules.Founded as "the individuals opera" by Mayor Fiorello LaGuardia in the mid 1940s, City Opera spent decades across Lincoln subsequently Center Plaza overshadowed through the Metropolitan Opera. Still, it assisted build the careers of Beverly Sills, Placido Domingo and Renee Fleming, also it typically presented 12-16 operas having a peak around 130 performances inside a season.The organization introduced in 2007 that Gerard Mortier would become gm for that 2009-10 season, but he backed in 2008 after worrying he wasn't given an adequate budget. The organization skipped the 2008-9 season at Lincoln subsequently Center due to the renovation of their theater, then presented an abbreviated schedule of 5 operas and 33 performances last season.Because the spring, City Opera has removed 42 percent of their administrative staff.City Opera, which claims deficits of $44 million on the decade, introduced in This summer an agenda of 4 operas at three venues from Feb to May the coming year.Based on the implemented terms, acquired through the Connected Press, there'd be no salary increase this year, single percent raise in 2012-13 along with a 2 percent boost the following season.Inside a letter to contributing factors, Gordon stated a strike against all performances was likely, and that he advised the general public to not buy tickets."You have to be conscious that every dollar that you simply lead to City Opera has been wasted," Gordon authored. He stated "it might be a travesty to permit the itinerant, small-scale opera company" to do "in bizarre venues with volunteer and student performers."Chuck Wall, who grew to become the business's chairman last December, stated "the board is 100 % devoted to ongoing the job of City Opera and that we anticipate ongoing to utilize our contributing factors."Copyright 2011 Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten, or redistributed.

KMFilms targets more compact indie game titles

BUENOS AIRES -- Javier Krause is fast building an worldwide sales catalog, dealing with films in Argentina and elsewhere with breakout potential but from the mainstream radar. He released KMFilms in April like a boutique label in Buenos Aires, rapidly gathering a 30-feature catalog, with four additions within the last week. This can be a manifestation of the indie film development in Argentina. A boom in film schools makes Argentina the most popular production industry in Latin America, with 100 includes a year. You will find about 15,000 film students -- a lot more than in Europe -- searching for their shot, which is breeding new voices from Cordoba, Mendoza and also the primary output hub in Buenos Aires. Many game titles originate from indie shops in Argentina with limited use of the 850-screen exhibition circuit 85% centered by Hollywood. "You will find lots of good films that never reach theatrical, and you want to develop the forex market,Inch he stated. "P Caravana" (Clubbing), a newcomer seafood-out-of-water comedy by Rosendo Ruiz, drawn 20,000 admissions in Cordoba, where it had been shot, with three copies. Purchasers have began calling, for remake privileges, Krause stated. KMFilms takes eight of his 30 films towards the 12 ,. 2-5 Ventana Sur film market, including Teodoro Ciampagna's "Hipolito," a political drama also from Cordoba, and Emiliano Romero's "Topos," a tragicomedy performed out on the planet of resistance martial artists. Additionally, it intends to step-up production -- its first efforts were with animated feature "Anida y el Circo Flotante" and "Olympia," the storyplot of the 18-year-old girl making her begin in porn -- and enter local distribution, including having a push into VOD. Contact the range newsroom at news@variety.com

Jimmy Fallon To Produce New Comedy Album

First Launched: December 2, 2011 11:44 AM EST Credit: Getty Premium NY, N.Y. -- Caption Jimmy Fallon hosts Tram-tastic Visit to Universal Art galleries Hollywood in Universal City, Calif. on June 2, 2011 Late Evening host Jimmy Fallon is famous for undertaking along with his famous musical site visitors, including Justin Timberlake, Bruce Springsteen and Blake Shelton, so that it seems only natural the comedian and music enthusiast would to create new album. Fans will not be needed to hold back extended. His second record, not titled, is scheduled for release next summer season on Warner Music Nashville. It'll feature parodies and music which are currently instant classics on NBCs Late Evening With Jimmy Fallon. His first album, The Bathroom Wall, was released in 2002. Despite singing pay a couple of from the finest names in music on his show, Fallon mentioned he still feels pressure of getting his new album completed. Mostly, what this means is I will probably start writing some tunes, he mentioned in the statement Friday. Copyright 2011 with the Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.