Harvey Weinstein: My 'Marilyn' Is Sexy, Beautiful, and Fun to Be Around

In case you haven't noticed, this is Harvey Weinstein's time of year. All year long, he has been hoarding his awards-worthy jewels, and now they're finally being unveiled to the public. First up are 'The Artist' (a leading contender for Best Picture despite the fact that it's silent) and 'My Week With Marilyn,' which appears destined to earn Michelle Williams her third Oscar nomination. Fifty years after her death, Marilyn Monroe lives on as an enchanting enigma. She was the most famous woman in the world, and perhaps the greatest movie star we'll ever know, but her true nature remained forever out of reach. 'My Week With Marilyn,' directed by TV veteran Simon Curtis and based on a pair of memoirs by Colin Clark, offers a new vantage point to consider where Norma Jeane Baker ended and Miss Monroe began. The film takes place in 1956 and follows the adventures of young Clark (Eddie Redmayne) on the London set of 'The Prince and the Showgirl,' as he goes from glorified gofer to superstar go-between, skinny-dipping with Marilyn and helping her cope with the vicissitudes of fame and the disdain of her director and co-star, Sir Laurence Olivier (Kenneth Branagh). Weinstein knows that the first step on the road to that podium is getting people to see the movie, so he took some time out of his busy schedule to chat with Moviefone about his love for Marilyn Monroe, his admiration for Michelle Williams, and his strategy for dominating awards season. Let's start at the beginning. How did the project get off the ground? Simon Curtis, who is the director, came to the company and said, "I want to make a movie of these books." I had read the books, you know, for fun, but I never actually thought about them as a movie. But he and Adrien Hodges had a script written and it was quite good. It was charming and fun. I think the biggest misconception about this movie is that it's supposed to be something other than this entertainment, this slice of life. Simultaneously, Andrew Dominik ['The Assassination of Jesse James by the Coward Robert Ford'] was working with Scarlett Johansson at first, and then later with Naomi Watts, on a script called 'Blonde," [adapted from Joyce Carol Oates' fictional Marilyn memoir]. So somehow people get them mixed up a little bit. They didn't make 'Blonde,' and 'My Week With Marilyn' is a snapshot: it's funny, it's charming, it's entertaining, it's a fairytale. It's a boy who works on the set of a movie, 23 years old. She's 30. And through an argument she has with her husband, the playwright Arthur Miller, this guy gets very close to her. It's kissing, skinny-dipping -- everything you want a week with Marilyn to be. You laugh. That's the misconception that I would love to clear up for everyone. This is just charming and fun, and today I'm just in a great mood. The reviews have been amazing. I mean, it's just been a gift. And the biggest gift is Michelle Williams. Can you tell me a little bit about Michelle Williams' process, her transformation into Marilyn? Well, you look like at her and you go, "Okay, she looks like Jean Seberg from 'Breathless.'" You go, 'How is Jean Seberg going to turn into Marilyn Monroe?' I think Jean Seberg is a knockout myself -- I'm much more of a Jean Seberg guy than a Marilyn Monroe guy -- but Marilyn's hot. Michelle practiced the wiggle, she practiced the walk, balanced things on her head. She had all the physical movements right. Was this the first time you ever had to ask an actress to gain weight for a role? She actually didn't gain the weight. Occasionally we added something to her butt, but that was about it. She's got a great figure and up on top, or whatever, she's in a good place [Laughs]. Anyhow, she met the physical demands of the role and she could sing, which we didn't know, and she could dance. Thank God she could, 'cause she dances four times, she sings four times in the movie. And that's all her -- she rehearses and she does it. She reads. She's like a school kid. You see her with books, you go, "Oh my god, we're back in college." It was like the smart girl walked into the room. When she takes her glasses off, she turns into Michelle Williams, but she's got her glasses on most of the time, her nose in a book. She's reading the biography of Arthur Miller, the first interview with Marilyn, Norman Mailer, looking at pictures -- she immersed herself. Marilyn loved to be photographed with a book. She wanted to be taken seriously as an intellectual and that was sort of the tragedy of her life. She was the most famous actress in the world, and yet she felt like a failure. Michelle treated Marilyn as a very serious role. Then I took her to see the movie during the making of 'Oz' in Detroit, because she had never seen it with an audience. "Just sit down, bring your girlfriends, hang out, whatever." The movie started and she couldn't believe how funny the movie was, how people were laughing -- and she knew we were trying for that. I mean, she walks into a bar and says, 'Buy a girl a drink?' The place explodes. Marilyn Monroe in a pub in England going, 'Buy a girl a drink?' It's like 'Casablanca,' you know? The line is so iconic. So it was reversed. Marilyn Monroe was kind of a flirtatious girl wanting to be serious. Michelle WIlliams is a totally serious, devoted-to-her-craft kind of actress, who had a good time, even though it was tough as hell to make this movie. Watch the trailer for 'My Week With Marilyn' What was she like on set? Was this your chance to finally make a movie with Marilyn? The opposite. She was the most cooperative person. I think if you would've said, "Here's a broom, we're short one cleaner today," she would've done that. She would've polished the dressing room, made you lunch. She's a mommy too, on top of everything else, so she's good with white bread and sandwiches. When people talk about Marilyn, often the actual movies get lost. What's your favorite of her movies? Listen, I know it's a cliche, but it has to be 'Some Like It Hot.' It's the most artistic movie. The "nobody's perfect" line at the end of that film is just genius. Then from there I go to 'Gentlemen Prefer Blondes,' not everybody's second choice, and I do like 'River of No Return,' because I like Preminger and I liked her in that movie. I like a lot of things in 'Seven Year Itch,' but it was really stage-y for me. It was the least cinematic Billy Wilder movie I had ever seen. But her movies are great -- she comes on screen, she's amazing. She's a shot of energy. Do you take issue with the idea that she was a tragic figure? In our movie, she's not. She's smart, she's funny. And Michelle said that in her research she discovered that Norma Jeane created the Marilyn Monroe character for herself. This was a character that was created. She didn't walk around at 14 years old with that voice or that wiggle, you know? She was Norma Jeane her whole life. You see the calculation of her character, and you also see her sweetness too. You see what a good girl she was and why guys would be attracted to her. You just say to yourself, "Wow, there's a damsel in distress, I want to be a knight in shining armor, I want to rescue that woman." And then when you rescue her, you realize she's just as smart as anybody else. Or smarter. It's an act. It is. Michelle really plays three roles. She plays Norma Jeane, she plays Marilyn, and then she plays Elsie, the showgirl in the movie that they're making. In the movie, Laurence Olivier calls her the "stupidest, most self-indulgent tart I've ever come across." What was he missing? The movie details a huge battle, which was the method acting that Marilyn Monroe and Montgomery Clift and Marlon Brando and James Dean and Paul Newman were all beginning to get into at the time versus the classically trained acting [favored by Olivier]. She wanted the method: "Please explain it to me. I want to live in it. I want to believe in it and make it about truth. I want to find the truth in the scene." And Olivier could care less about the truth: "Get on with it, you lazy cow." So the funniest scenes in the movie are Kenneth Branaugh as Olivier saying things like, "Get on with it! Just be sexy! That's what you do." It's just funny -- bitchy or whatever. I don't know if we can say this, but there's a great scene where he says, "Fuck!" and Marilyn goes, "I didn't know they had that word in England too!" So you clearly see how witty she is. Olivier thought she was going to fall madly in love with him, she didn't, and as a result he was left with a battle of wits. You mentioned reviews earlier. A lot of people these days argue that reviews are irrelevant, but how important are they to you as someone who makes movies for adults? I think they're extremely important. The way that this movie is received, especially today, will propel its box office and get it in front of audiences. I did an interview today where they asked, How come you don't do action movies? If I did, I wouldn't have to depend on journalists or reviews, but my movies' special effects are words. Therefore we live and die by the sword of words. Even if you as a journalist dislike something but you say, "I loved Michelle Williams" or "I loved Kenneth Branagh" -- whatever it is -- you give the audience a reason to see the movie. I can honestly tell the viewers if they like 'The King's Speech,' they're not going to be disappointed by this movie. They're really going to have a good time. This is even more of a romp than 'The King's Speech.' This is pure fun. It's sexy, it's funny, you'll have a great time, and it's smart. Do you have any thoughts as to why there are so few people making movies for adults these days? It's hard to market a movie when you're at the mercy of critics and journalists. People want to see big, escapist fare. They don't want to be challenged to think. It's a tightrope act. There are plenty of people who'd rather not be in the circus; they'd rather be doing the easier thing. Very often, I'm in the middle of it going, "Oh my god, why didn't I just do a romantic comedy? It's be so much easier!" You're known for your skills in award season. After the Academy announced its new rules limiting campaign events, I jokingly asked someone there, "Is this the Harvey rule?" And he said, "They're all Harvey rules." [Laughs.] Look, I've always loved politics. World politics, national politics, and I've always been involved in presidential elections. So organization just came naturally to me. And if I've learned one thing, just by watching the Republican Convention -- you've got to have a candidate. You have to have somebody or a movie that talks to people, and if you do, there's only one thing you can do to win an Oscar: Get all of the Oscar people to see the movie. If they don't see the movie, they can't vote for your movie. It's simple as one thing to do. People think I have a magic wand, but it's really the movies. And you insult the Academy's intelligence by thinking that you can campaign in any way. It's really just bringing it prominence and making you want to see 'Marilyn,' or 'The Iron Lady,' or 'The Artist.' Making you want to see 'W.E.' Or 'Coriolanus.' Michelle and Meryl Streep [in 'The Iron Lady'] are both considered favorites for Best Actress. Does that create stickiness when you have two people going for the same award? No. First of all, at least with the Golden Globes, thank God, they're both in different categories: Comedy/Musical and Drama. At least for the first round, there's no competition. Meryl's seasoned at this, and believe it or not, if Michelle gets nominated at the Oscars, it'll be her third. Here, I'll tell you an Oscar story. I have a great director who's the most self-effacing actor. In any universe, Ralph Fiennes' performance in 'Coriolanus' is a good as anybody's performance out there. It is just a great performance, but he'd rather campaign for Vanessa Redgrave or Gerard Butler. That's my Oscar problem of the day. Michael Hogan is the executive entertainment editor of The Huffington Post Media Group. A version of this article was published simultaneously on The Huffington Post. 'My Week With Marilyn' Photos Michelle Williams as Marilyn MonroeEddie Redmayne as Colin ClarkKenneth Branagh as Sir Laurence OlivierEmma Watson and Eddie Redmayne as Lucy and Colin Clark See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook #fivemin-widget-blogsmith-image-486274{display:none;}.cke_show_borders #fivemin-widget-blogsmith-image-486274, #postcontentcontainer #fivemin-widget-blogsmith-image-486274{width:475px;height:357px;display:block;}

Peace for a while as org and prodco collaborate

When the Hollywood Foreign Press Assn. and Dick Clark Prods. attempt this years Golden Globe telecast, they will be inside the awkward position on joining up during the time of acrimonious suit.Even though it may have no effect on this program itself -- since they were in this same position a year ago -- there is expectation the entire problem of this has rights for the show may have showed up at some type of resolution at this time.The HFPA punished Dick Clark Prods. in November 2010, charging that it's longtime producer talked about a long-term broadcast deal with NBC without its consent. But Dick Clark Prods., possessed by Serta Snyder's Red-colored-colored Zone Capital Partners, remains strident within the contention that they're inside their contractual rights accomplish this, that they legally can produce the show as extended simply because they forge a deal while using Peacock.After several days of proceedings, the problem was poised to go to trial on Sept. 6, raising the opportunity there might be no less than a verdict showed up at inside the dispute just before the ceremony. But merely days just before the trial wound up being to begin, U.S. District Judge Valerie Baker Fairbank withdrew within the situation for just about any health reason, but her alternative, Judge Howard Matz, has received this kind of crowded calendar he's been unable to locate dates for just about any trial this year. A hearing is scheduled for November. 30 to produce a completely new date, which looks likely to end up inside the first quarter of 2012.The issue, clearly, wasn't ideal, and each side then completed an agreement where Dick Clark Prods. would again produce the show for HFPA in 2012 though each side "safeguarding their unique positions," according to some pot statement the parties released in those days. Basically, just the fact they are cooperating, possibly for your one before, does not work on sun and rain in the suit.On the showdown in the courtroom may resolve the dispute, furthermore, it expects to rehash past rifts within the HFPA together with the company practices of Dick Clark Prods. Odds are it'll target the discussions in 1993 that introduced for the extension from the rights agreement the HFPA forged with DCP, additionally to some much in dispute contract clause. Before she withdrew within the situation, Fairbank mentioned that at problem was when the parties in 1993 "validly became a member of in to a contract term for unlimited, unilateral extensions."What meaning is the trial will focus on just what that language meant in those days and exactly what it has meant with time, and among people who may be referred to as to testify are past and provide HFPA leaders and a variety of industry figures, including Dick Clark themselves. Even CBS' Leslie Moonves is about the witness list, evidently to supply testimony in regards to the HFPA's recent discussions while using Eye getting rights for the ceremony.Past fissures between HFPA people have been elevated in pre-trial controlling, and may be broached again in the trial. The HFPA claims that in 1993, its then leader Mirjana Van Blaricom, was lacking the right to sign a contract getting a "perpetual rights" clause. The org claims that DCP's leader, Frances La Maina, represented for his or her folks 1993 anything gave Dick Clark Prods. basically a finite volume of options.But Van Blaricom, who started her own rival press association in 1996, states they did hold the authority. She not only challenges the HFPA's version of occasions, together with the circumstances surrounding her departure within the org in 1994, but she filed a declaration within the court docket regarding Dick Clark Prods. Within it, she states they asked for an attorney to look at the recommended amendment before returning the carried out contract to DCP. She also mentioned they and La Maina spoken concerning the intent in the provision, which was part of DCP's "need to make certain that it is interests were not compromised as lengthy because the Golden Globe Honours ongoing to become on NBC.""The 1993 Amendment was greatly beneficial for the HFPA because obtaining the Golden Globe Honours show broadcast having a major network like NBC made sure both greater license costs and elevated notariety for your HFPA, its primary goals in those days,In . Van Blaricom pointed out.The show has not only been elevated, it's be considered a cash cow for NBC, Dick Clark Prods. as well as the HFPA. According to court filings, NBC paid out HFPA permission fee of nearly $5 million in 2005, that is likely substantially greater ever since then.Precious metal GLOBES PREVIEWRicky didn't lose their number Peace for a while as org and prodco collaborate No-limit rule a boon for global pic parade HFPA declines being starstruck in noms process Marketing techniques can alter at Globes time No relaxation for your bleary-eyed New kids available on the market Contact Ted Manley at ted.manley@variety.com

TV Rankings: 'Glee' Falls 6 %, 'Body of Proof' and 'Raising Hope' Rise

Adam Rose/FOX CBS, lower in the previous week's season levels, still won Tuesday evening. The network averaged a 3.2 rating among grown ups 18-49 and 15.4 million among audiences. Having a 4. within the demo and merely a notch under 20 million as a whole audience, NCIS gave the most powerful performance associated with a broadcast throughout the evening. Glee dropped 6 %, two tenths of the point, in grown ups 18-49 for Fox, lower to some 2.9. The series published modest gains in audiences, however, as much as 7.a million in the last outing. New Girl also acquired in audiences (6.9 million), remaining tight in a 3.5 in grown ups 18-49. Raising Hope enhanced for that second week running, moving up to and including 2.2 rating a typical audience of four.8 million. PHOTOS: Fall TV Dying Pool: Which New Shows Is Going To Be Canceled? The Dwts semifinals results carried out nearly as good as a week ago, posting a couple.7 within the demo and 14.96 million audiences. Comedies Last Guy Standing and Guy Up! were also on componen using the previous days, generating a particular 2.6 and 1.7 in grown ups 18-49, while drama Body of Proof (sidelined a week ago for any news special) came back track of a couple.1 as well as an average audience of 9.8 million. NBC's Greatest Loser dropped three tenths of the point lower to some 2.one in grown ups 18-49, as the 10:00 p.m. showing of Being a parent ended up only one tenth to some 1.9. 90210 and Ringer both drawn b .7 for that CW. Both series published strong showings in average audiences, with Ringer getting in the biggest audience because the a week ago of September and 90210 its greatest all season. CBS -- 3.2 · NCIS: 19.9 million, 4. · NCIS: LA: 15. million, 3.3 · Memorable: 11.two million, 2.4 Fox -- 2.9 · Glee: 7.a million, 2.9 · New Girl: 6.9 million, 3.5 · Raising Hope: 4.8 million, 2.2 ABC -- 2.3 · Last Guy Standing: 8.97 million, 2.6 · Guy Up!: 6.3 million, 1.7 · Dwts results: 14.96 million, 2.7 · Body of Proof: 9.8 million, 2.1 NBC -- 2. · The Greatest Loser: 6.two million, 2.1 · Being a parent: 4.96 million, 1.9 The CW -- .7 · 90210: 1.six million, .7 · Ringer: 1.9 million, .7 TV Rankings

Station groups back ConnecTV

ConnecTVA broad consortium of TV station groups have banded together for what may be the most ambitious effort yet to establish a dominant brand in the sprawling social-TV space. Ten groups representing more than 200 stations affiliated with the broadcasters have linked up with third-party developer ConnecTV to launch a second-screen experience bringing together consumers and companion content for Web browsers and tablet apps operating on both iOs and Android systems. Early next year, ConnecTV will begin to roll out across the bigger markets. ConnecTV joins a crowded field of software applications aimed at commandeering the precious real estate on laptops and wireless devices used while people watch TV. But the participation of stations puts a new twist on social-TV solutions, making local television the point of entry in a category that has been a free-for-all in the early going. ConnecTV co-founder Ian Aaron drew a comparison to GroupOn in describing the appeal of his venture's approach. "We think where we drive traction is by really personalizing this at the local level," he said. Participating station groups include Barrington Broadcasting Group, Belo Corp., Cox Media Group, E.W. Scripps Co., Gannett Broadcasting, Hearst Television, Media General, Meredith Corp., Post-Newsweek Stations and Raycom Media. All together, they amount to 76 million households. More station groups are expected to join the effort. The stations will sell ads in ConnecTV and promote the service on-air. Some of the stations are also investors in ConnecTV, but the company didn't specify which ones or how much they have invested. ConnecTV can surround hundreds of channels -- whether programming is local or national across broadcasting or cable networks -- with synchronized content related to what's onscreen. In addition, ConnecTV has a social-media component that brings together viewers with either other viewers in their community or a grouping of their own choosing. There have been plenty of studies confirming the ubiquity in the living room of devices ranging from iPads to laptops. New research from Futuresource Consulting out last week found that at least half of viewers surveyed in U.S., U.K., France and Germany are using secondary devices while watching TV. The opportunity has attracted no shortage of corporate attention. But the business of providing content on second screens as an adjunct to the primary TV experience is so wide open that ConnecTV stands out for no other reason than its broad footprint. Platforms like Twitter and Facebook may be best situated to capitalize on this phenomenon, though they haven't done much more than simply present themselves as the place for conversations simultaneous to the TV. For TV companions that combine social media with a content experience, there have been channel-oriented websites and apps from the likes of Bravo and MTV as well as show-specific approaches from Fox ("Terra Nova") and ABC ("Grey's Anatomy"). And then there are third-party developers like Umami, which recently launched its synchronized-content app with the intent of becoming a one-stop shop no matter what show or channel drives your interest. It has deals with a growing list of content partners from National Geographic Channel to "Entertainment Tonight." If that's not enough, this bewildering array of strategies could eventually see still more applications from parties as varied as production companies, advertisers and consumer-electronics manufacturers. Roger Keating, senior VP of digital at Hearst, sees ConnecTV as a reversal of the usual trickle-down dynamic that has TV stations adopting technology that gets pushed down from the TV networks or MSOs. "When new platforms emerge, they tend to start purely from a national standpoint and eventually they say, 'Let's open a local door to this,'" Keating said. "Now we have local broadcasters putting their weight behind this platform and telling our viewers about it." While ConnecTV is currently moving forward without the participation of parties beyond the stations business, conversations have been held outside the sector to eventually bring them aboard. ConnecTV synchronizes content by empowering devices to listen for audio fingerprints embedded in the TV signal. Most of the aforementioned stations have already thrown in their lot with another joint service: Dyle, a mobile TV service using over-the-air spectrum expected to launch next year. Dyle and ConnecTV will remain separate entities. ConnecTV has been operating in stealth mode for the past two years. The company's principals include Aaron, former president of Gemstar-TV Guide, and former TiVo execs Alan Moskowitz and Stacy Jolna. Contact Andrew Wallenstein at andrew.wallenstein@variety.com

The Biz: A Completely New Breakfast Club

Soledad O'Brien The morning shows familiar with compete to offer the splashiest street-level art galleries and enormous stunts. Nevertheless it comes lower to being the next Morning Joe. CNN introduced it'll launch a completely new program with Soledad O'Brien next season that moves in the traditional morning-show format of site visitors and segments plus much more toward conversation. O'Brien will lead an ensemble of regulars who'll discuss the issues throughout your day. "I start to see the tone in the program as obtaining a really smart breakfast along with your pals that are funny and interesting, who are ready to break the guidelines if you request questions and eager to argue in the thoughtful way," states O'Brien, which has done morning duty on CNN's American Morning and NBC's Weekend Today. CBS News has furthermore revealed plans that it's going to turn its Early Show in to a more thoughtful discussion program which is in talks with Charlie Rose, whose PBS chatfest can be a favorite among high-minded audiences, about becoming host. Both programs appear as though they are emulating MSNBC's Morning Joe with Joe Scarborough and Mika Brzezinski, that is needed viewing for your Beltway crowd. But O'Brien demands her new program can change. "We will not attain the same voices," she states. "We will probably have bigger appeal because we'll cover a wider choice of tales." Subscribe to TV Guide Magazine now!

Mimi Rogers To Play Ashton Kutchers Mom On Two And A Half Men

EXCLUSIVE: Charlie Harper’s mom has always been an important part of Two And A Half Men. Now we’ll get to meet the mother of new lead Walden Schmidt. Mimi Rogers has been tapped to guest star as Walden’s (Ashton Kutcher) mom in at least 2 episodes of the veteran CBS comedy series. And if you wonder where computer genius Walden got his brains from — his mother is a noted primatologist, a la Dian Fossey.

TV News Blankets Verdict As Conrad Murray Convicted

Television news shifted into Dr. Conrad Murray mode just after 11 this morning after it was announced that a verdict had been reached in the involuntary manslaughter trial over the death of Michael Jackson. With the news that the jury’s verdict will be read at 1 PM PT, the feeding frenzy commenced: Locally in Los Angeles, NBC/4, KTLA/5, ABC/7, KCAL/9and Fox/11 allcut live to the L.A. Criminal Courthouse downtown to cover the breaking story, as did CNN, HLN and truTV with pictures, speculation and interviews with the multitudes gathered in front of the courthouse. The networks all prepped to both stoke the suspense and capture the tensionof the moment. Notably, CBS/2 didn’t break away from The Young And The Restless, nor did KCOP/13 from its regular programming (including reruns of I Love Lucy and Bewitched). And interestingly, FoxNews and MSNBC covered the breaking story as a part of their larger newscasts and not exclusively. Murray is accused of causing Jackson’s death after administering an overdose of the drug propofol, prescribed to treat Jackson’s insomnia. The upcoming verdict culminates a weeks-long trial and two days of jury deliberations. If convicted, Murray could be sentenced to four years in prison. MORE

Stock not just shock

Let's suppose a Hollywood time machine taken helmer John Ford in the group of 1935 release "The Informer," which gained him his first Oscar, towards the shoot of "Brokeback Mountain" some 70 years later.The crusty master may have been taken aback through the more recent pic's subject material but he could have been quite aware of the particular procedure for shooting: 35mm film cameras, magazines, the shouts of "Action!" and "Cut." In the end individuals years, moviemaking was still being moviemaking.Yet only a couple of years later, filmmakers of this generation are spinning from future shock. Rather than film stock, it's digital files. No magazines, you don't need to cut, cameras can record continuously. Release prints are dying, changed by DCPs. Digital three dimensional may be the rage. Greater frame rates are coming. Seem is moving to 7.1. Advances are going to put colors on screen that film could not duplicate, and also to expand the dynamic selection of images to something of that nature from the eye.It is a brave " new world " of options, but it is switched movies right into a type of tech mad lib: three dimensional at 60p right people 4K with 7.1 left people Imax before us -- in three dimensional or 2D."The very first time, whether or not they will say it aloud or otherwise, most everyone is searching at (the technological change) and starting to understand that the they understood is not the industry that's likely to be there in, choose a number: ten years? 2 decades?Inch states Ray Feeney of RFX, among Hollywood's leading technologists. Even stars, notes Feeney, are seeing their craft evolve because of performance capture.Feeney is one kind of individuals with an industrywide conversation to create some order using this chaos, and not simply with regard to finding something as stable because the 35mm film platform was. He notes that although the has sunk fortunes moving from 35mm to digital projection -- a lateral move when it comes to quality -- the house-theater experience has enhanced by advances and bounds."Probably the most essential things which has classified cinema previously continues to be spectacle. In comparison holiday to a way to get your story presented, it has been mind and shoulders above." But what qualified as spectacle even two decades ago does not stick out any longer, in comparison as to the auds could possibly get in your own home today. Feeney states he's visiting a growing consensus the industry must change, but suggestions vary from three dimensional to more luxe lodging at theaters.Peter Lude, prexy from the Society of movement Picture and tv Engineers, states the must view this not as being an issue but being an chance. "Theatergoers are likely to see higher quality images in many these ways," he states. "And it is not subtle."Today filmmakers need to determine which of those additional features they would like to use, if perhaps since the sheer quantity of data of 4K/three dimensional/high-frame-rate could be unwieldy at the best. "I would like not have to choose from individuals technologies, but instead possess a platform the filmmaker could decide what's most suitable for his or her particular story," Lude states.Feeney and Lude agree the must start speaking, as when it produced digital Cinema Initiative to create specifications for d-cinema. States Lude: "I believe everyone has skin in the overall game to pre-plan the evolution. It isn't a studio problem, it isn't an exhibitor problem, it's everybody's problem. Or everybody's challenge: to have the ability to take what we have got and individuals growing to aid future needs."HIGHLIGHTS9:45 a.m. Keynote Conversation with director Shawn Levy, questioned by Variety's David Cohen.10:15 a.m. Keynote Conversation with director Roland Emmerich, questioned by Variety film editor Josh Dickey.11 a.m. The Condition of Technology in Film: From Production to Exhibition. Loudspeakers: Chris p Faria, Warner Bros. High cliff Plumer, Digital Domain Curtis Clark, chairman from the American Society of Cinematographers Technology Committee Robert C. Bailey, Colorworks, The new sony Pictures Entertainment Moderator: David Cohen11:45 a.m. New Facts around the Set: How Would be the Roles from the Film Crew Influenced within the Digital Age? Loudspeakers: Steven Fierberg, d.p. Oliver Bokelberg, d.p. Bill Bannerman, co-producer and aerial unit director Steven Poster, prexy from the Intl. Cinematographers Guild Josh McLaglen, first AD/producer Guy Hendrix Dyas, production designer. Moderator: Peter Caranicas, deputy editor at Variety1:45 p.m.What's Next for CGI Animation? CGI/Live-Action Hybrid cars, Motion-Capture, and much more. Loudspeakers: Cary Granat, Reel Forex Richard Hollander, Rhythm & Hues Erik Nash, Digital Domain Take advantage of Bredow, The new sony Pictures Imageworks Steve Sullivan, Industrial Light and Miracle.2:30 p.m. The Brand New Technology Landscape. Loudspeakers: John Schwartzman, d.p. Peter Lude, leader of SMPTE Wendy Aylsworth, Warner Bros. Moderator: David Cohen3:15 p.m. Film Restoration. Loudspeakers: Grover Crisp, The new sony Pictures Ing. Robert Heiber, Chase Audio by Luxurious Andrea Kalas, Vital Pictures Moderator: Leonard Maltin.4:45 p.m. Masters of Technology: Making Celebrities From Effects and different Imagery. Loudspeakers: Steven Quale, director of "Final Destination 5" Raja Gosnell, director of "The Smurfs," Chris Burns, director of "Puss in Boots" Marti Noxon, author "Fright Evening" and "I'm # 4Inch Apurva Shah, supervisory technical director on "Cars 2." Moderator: Variety's Karen Idelson Contact David S. Cohen at david.cohen@variety.com

Burn Notice's Gabrielle Anwar: This is actually the Most Vulnerable Michael and Fiona Have Have You Been

Jeffrey Donovan and Gabrielle Anwar On-screen, he's among the males that burned Michael Westen (Jeffrey Donovan) in the CIA years back and also the guy now blackmailing Fiona (Gabrielle Anwar) for coming in the consulate and killing two males. Yes, Burn Notice's large bad Anson (Jere Burns) makes many opponents. Off-screen, it is a different story. "I really like this character of Anson a lot,Inch Anwar informs TVGuide.com. "Precisely how clever and just how tricky and just how intelligent he's in the manner he can control the systems of those figures. ... We are being devoured, basically, therefore it is been a really enjoyable season to operate on." Following a shocking reveal within the midseason finale that Anson was area of the organization that burned Michael, Anson would be the one tugging the strings (for the time being) once the spy drama returns Thursday at 10/9c on USA. But what's he blackmailing Michael and Fiona for? How lengthy is he going to attempt to control them? And may they try to liberate? Anwar spoken to TVGuide.com about individuals questions and much more of what's approaching. Watch full instances of Burn Notice Why do you consider it was the best amount of time in the series for Michael to satisfy the guy that burned him? Gabrielle Anwar: Anson, who's this type of wretched character and superbly performed by Jere Burns, continues to be awaiting Michael and Fiona to achieve a place within their relationship where Michael cannot do without her. It is the one weak spot that Michael has, or more until this time, I do not think it has been weak enough. How have you discover who Anson actually was? Have you get any advance warning? Anwar: I had been as surprised as a few of the audience people. I really don't fully realize what is going to happen ahead of time, making my existence a lot more exciting when i browse the scripts. It is a great impetus to help keep studying the season because it will get increasingly more tiring using the more stunts and also the more hrs. It had been an unexpected in my experience, and i believe it's fantastic. It is a wonderful twist to include only at that late amount of time in the overall game. USA renews Burn Notice for 2 more seasons The way Anson's presence and also the threat he holds over Fiona modify the dynamic from the show? Anwar: Both Michael and Fiona are subject to Anson now. ... and there is not so much they are able to do about this except to pass through this emotional and professional blackmail. It will get really, really intense at certain points within the next handful of episodes. Once the show returns, what type of feelings is Fiona feeling since she realizes just what what Anson has over her? Anwar: She's this type of diverse reaction to being controlled by anybody. It's the most troubling emotion on her to see - on her to become controlled by anything or anybody. She's very reluctant for Michael to sign up in a of Anson's exploits and i believe that she's very prepared to surrender in the get-go instead of permit this to sick character get his way together with her. What keeps Fiona from giving up and what keeps Michael from letting her do this? Anwar: Michael is really as offended through the idea as she's, and i believe that he's of the opinion there needs to be something which he is able to caused by rectify the problem. Michael feels as just as powerless as Fiona. It's the very first time they have ever let themselves become so vulnerable - not just with one another, however in an expert atmosphere. The pair of them are generally adhering with a glimmer of hope that they'll have the ability to obtain the upper give Anson, that is what propels the following couple of episodes before the season finale. Take a look at photos from Burn Notice Will the threat of Anson bring Michael and Fiona closer together or put newer and more effective cracks within their relationship? Anwar: Michael and Fiona come with an incredibly cracked relationship on a great day. I believe you will find certainly some fractures which happen pressurized in a relationship, but particularly under this type of intensity. But with that said, the immense quantity of respect and affection they have for one another are only able to be considered a positive thing. Their relationship might be cracked, but Michael and Fiona have still advanced significantly forever from the series. What's been the greatest surprise for you personally regarding their evolution like a couple? Anwar: The greatest surprise is the fact that they are still going. After I browse the episode where Fiona really moves into Michael's attic, I had been really surprised. I wasn't expecting any domestic bliss in the near future. To ensure that type of really put me. But I have loved the final season and discussing that space with him. It has been very amusing that i can be relocating my linens and my fruit platters and filling the refrigerator with something apart from yogurt - it has been thrilling. I've experienced immense domestic bliss within this last season. It had been incredibly surprising in my experience the authors were prepared to let Fiona accept Michael. It had been very daring. Will this respect and love they have for each other, do you consider they'll ultimately have the ability to survive this difficult period? Anwar: God, I really hope so. I am going to need to possess a little belief when anybody will make it through, it will likely be Michael and Fi. I'm going to be very depressed when they split up. Without ruining anything, do you consider Anson will go back to the show again next season? Anwar: I really hope so. I've my fingers and toes entered.

Exclusive: Charisma Carpenter Gets In on The Lying Game

Charisma Carpenter Buffy the Vampire Slayer alum Charisma Carpenter has been cast in a recurring role on ABC Family's The Lying Game, TVGuide.com has learned exclusively. The Lying Game: Who's who and how is it different from the books? The series stars Alexandra Chando as separated-at-birth twins Sutton and Emma, who swap places unbeknownst to their friends and family. Carpenter will play Rebecca "Annie" Sewell, the estranged sister of Phyllis Chamberlain (Sydney Barrosse) and aunt of Sutton/Emma's best friend, Char (Kirsten Prout). Rebecca's return to town after many years brings back old memories - and secrets - that Alec Rybak (Adrian Padsar) and Ted Mercer (Andy Buckley) would like to keep in the past. Carpenter, who recently appeared on an episode of Supernatural, begins her arc in the show's midseason premiere, which is slated to air in early January.

Amok

A Cinemalaya, Pelikulaw presentation from the Pelikulaw production. (Worldwide sales: Pelikulaw, Quezon City, Philippines.) Produced by Tessa Aquino, Lawrence Fajardo. Executive producer, Krisma M. Fajardo. Co-producers, Josabeth Alonso, Maria Suzette Ranillo. Directed, edited by Lawrence Fajardo. Script, John Bedia.With: Mark Gil, Dido Dela Paz, Garry Lim, Archi Adamos, Lui Manansala, Efren Reyes Junior., Patricia Ismael, Acey Aguilar, Nonie Buencamino, Ermie Concepcion, Akira Sapla, Xavi Hemady. (Tagalog, British dialogue)Social realism and slow-burn suspense mix to create solid if rather familiar results in "Amok." A multistrand criss-crosser about others connected by an action of violence around the sweltering day, this drama by Filipino helmer Lawrence Fajardo produces vivid pictures of Manila street existence but handles to get rid of impact with unsubtle speechmaking inside the tragedy's aftermath. A great addition for the steady stream of Filipino low-budget photos dealing with harsh urban reality, pic must have a decent fest existence and stake some claims just like a niche smallscreen item. Local release particulars are pending. Edsa-Pasay Rotonda, a massive intersection round the edges of Manila with crowded paths, pedestrian bridges plus an elevated railway track, is rapidly fascinating. One of the city's most widely used modems, it comes down lower alive like a kind of tentacled creature transporting around shifting public of humanity. The pic intros numerous figures with short and snappy sketches. First seen is Belen (Patricia Ismael), a food vendor who keeps one eye on her behalf account grilled meat as well as the other on youthful daughter Mai-Mai (Akira Sapla). Waiting for a bus is Manuel (Nonie Buencamino), father of Samuel (Xavi Hemady), a young professional basketball hopeful. Stuck in site visitors are impatient driver Tinoy (Archi Adamos), brother of wealthy lady Melinda (Lui Manansala). One of the handful of interior locations might be the rundown apartment of Rogelio (Mark Gil), a ageing actor whose transaction with hooker Claire (Ivy Rivera) is completed in the furious argument. John Bedia's tightly built script imparts sufficient particulars about each character before moving to the following. Result's an intriguing number of anyone else simply trying to handle your entire day, while others with a lot more dark agendas. Among people are Sarge (Efren Reyes Junior.), a goon utilized by shady property designers which has paid out senior citizens lady Lola (Ermie Concepcion) to produce fire with a squatter settlement. Most menacing is Edwin (Garry Lim), a mohawk-sporting, short-tempered pool-hustler whose confrontation with market-stall holder Dido (Dido Dela Paz) triggers the sudden explosion of violence. The carefully arranged and well completed multilayered scenario is absorbing, nevertheless the film's climactic moment does less than supply the cathartic payback it promises. Auds surely will probably be affected, nevertheless the overall impact is undercut by some poorly staged TV news footage through which characters' reactions appear a great deal a lot more like press bulletins about social injustice in comparison to voices of people deeply hurt. Lenser Louie Quirino's steady camera and striking plans certainly are a refreshing change from the faux-docu shaky-cam technique that's become this kind of visual cliche in tales such as this. Production values and technical work are impressive around the lean budget.Camera (color, HD), Louie Quirino music, Von p Guzman production designer, Fajardo appear (stereo system system), Mike Idioma, Addis B. Tabong assistant director, Jobin Ballesteros second unit camera, Maisa Demetillo. Examined at Busan Film Festival (A Window on Asian Cinema), March. 12, 2011. Running time: 83 MIN. Contact the number newsroom at news@variety.com