Global Showbiz Briefs: United kingdom, The country, Cuba

Summer time Movies Will Face Lots Of Competition in great britan Things dont look too rosy for that British summer time box office in 2012. Film Marketers Association Boss Mark Batey told BBC News that could to September is a difficult period. Competition can come from 2 1/2 days from the London Olympic games, plus Wimbledon, the British Grand Prix, the queens Gemstone Jubilee and also the Paralympics. Summer time films likeThe Dark Dark night Increases, Battleship,The Astonishing Spider-Guy andThe Bourne Legacy may have little opportunity to continue the British box office growth seen this season over 2010, Batey stated. The British box office presently stands at 872 million, 4% greater of computer was this time around this past year. The spanish language Sales Agency Freak Moves Into Movies Madrid-based short-film sales agency Freak is branching to movies. It introduced worldwide sales of Bernard Arellanos Between Day And Night and Celia Novis On Vampyres Along With Other Signs and symptoms. Arellanos movie won the Award in the recent San Sebastian Worldwide Film Festival, and Novis film is screening at horror fest Sitges on March. 12. Freak will also attend the American Film Market this fall along with the IDFA/Paperwork Available in Amsterdam. ‘Habanastation’ Is Cuba’s Oscar Pick Ian Padron’s Habanastation will represent Cuba within the Foreign-Language Oscar race. The film involves two class mates from different skills who spend each day together within the lower-class neighborhood among the boys lives in. The film won the Founders Greatest of the Fest Award at Michael Moore’s Traverse City festival this season.

Travolta Qantas Video Time Traveler Photo available on eBay

Travolta Qantas Video may be the latest celebrity to possess his likeness appear inside a photo dating in the 1800s.our editor recommendsNicolas Cage 'Vampire' Photo Available on eBayNicolas Cage 'Vampire' Photo Vanishes From eBay An eBay seller in Ontario, Canada has put a ruby glass ambrotype photograph from 1860 up for auction and also the guy within the photo looks amazingly like Travolta. Just two days ago, selling real estate on eBay published a photograph in the 1870s that appeared as if Nicolas Cage and thought the Oscar-winning actor was, actually, a vampire. The vendor from the Travolta photo doesn't turn to the supernatural to describe the likeness, however. He's leaning toward sci-fi. He creates, "For individuals individuals who don't know, Travolta Qantas Video is really a Scientologist and several Scientologists have confidence in a kind of reincarnation. Obviously Time travel can't be eliminated too.Inch Unlike the vendor from the Cage photo, who had been requesting millions of dollars prior to the photo disappeared from eBay, this seller, who's a self-announced collector of old photographs, is requesting a comparatively modest $50,000. The vendor gives not one other details about the guy within the photo, but by Thursday morning, four offers were already pending for that picture. Related Subjects Travolta Qantas Video

'Easy A's' Will Gluck Sells Family Comedy to Fox (Exclusive)

Fox is in business with Iceland duoWill Gluck and Andy Bobrow.our editor recommendsABC Accumulates Comedy Project From 'Easy A's' Will GluckJustin Timberlake Praises Will Gluck The network has bought an untitled single-camera family comedy project in the pair. The project, which originates from The new sony Pictures Television where Gluck includes a deal, focuses on the American Dream, being a parent and also the (freakin') neighbors. Bobrow will write and executive produce the project,with Gluck becoming an Air. Richie Schwartz, who became a member of Gluck's The new sony-based shingle captured, will co-executive produce. This news follows a flurry of deals for simple AandFriends With Benefits director Gluck, including ensemble comedy Walk of Shame (at ABC) as well as an untitled mucumentary (at NBC). Gluck and Bobrow, whose other small-screen credits include Community and Malcolm in the centre, are repped by UTA. Email: Lacey.Rose@Thr.com Twitter: @LaceyVRose Related Subjects Easy A The new sony TV Development

Paramount Unveils Spoilery New Paranormal Activity 3 Trailer and Allows Fans To Pick Premiere Cities

Just because you’re not receiving mysterious VHS tapes in Austin this week — where rumor has it Paramount may premiere Paranormal Activity 3 tonight as a secret screening at Fantastic Fest — does not mean that you won’t get to see the franchise prequel before its October 21 release. The studio has just launched a Twitter campaign which allows fans to vote on 20 cities to host special pre-release premieres. And if that still isn’t soon enough for you Paranormal fans out there, Paramount has just released a majorly spoiler-filled new trailer for the film from Catfish directors Henry Joost and Ariel Schulman. Click ahead at your own discretion. video platformvideo managementvideo solutionsvideo player To participate in Paramount’s “Tweet To See It First” campaign, simply go to the Paranormal Activity 3 website here, and select your city from the global map, which will also serve as the point of entry to create a tweet with a special set of hash tags that link directly to Twitter. Once your tweet posts, it counts as a vote. The competition is open to fans all over the world and will end at 11:59 p.m. PDT on Thursday, October 13th. The 20 winning cities — which will host special October 18th premieres — will be announced on Friday, October 14th. Paramount’s “Tweet To See It First” campaign is similar to a campaign led by the first film’s director Oren Peli in 2009 which asked fans to “demand” which city they would like to see Paranormal Activity open in next. [via /Film]

What A Friday Brawl! Moneyball Wins #1, Lion King 3D Holds #2, Dolphin Tale #3, Abduction #4 + Killer Elite #5 Underwhelm

FRIDAY11 PM, 2NDUPDATE: Finally, I have some clarityfollowing Rentrak hiccups during the day and early evening. Not to mentionevery studio’s confusion over the ordering of the Top 5 because of fierce fights going on at the North American box office throughout today. And, geez,I’m supposed to be on vacation: 1. My sources say Sony’s newcomerMoneyball has been rising as the night goes on for maybe the best baseball-themed opening ever. It’s definitelyNo. 1 Friday with approximately $6.8M from 2,993 theaters. (As a Sony exec told me, “$6 million would be great. $7 million amazing. $8 million would be a triumph.”) With a healthy adult bump tomorrow, it’s looking at a $21M weekend. That solid number helps keep Brad Pitt’s star wattage shining and his awards chances climbing because ofthis well-reviewed male-centric sports movie.Audiences really liked this pic: it received all A’s — male, female, young, old — from CinemaScore. But a rival studio exec points out, “The audience is very old – almost 60% of audience over 50.” 2. Even Disney is surprised that its Lion King 3D is in 2nd place tonight from 2,330 theaters after its huge first-place finish last weekend.But rival studios tell me itgot a boost today from the rain backEast for a $6.2M Friday foran excellent hold of-31% froma week ago.With the normal kiddie matinee bump, that’s a $21M weekend as well.This re-release isprojectedto hit a cume of $60M by Monday. Here’s my question: Why is it that in all the promotional hype I’ve been sent by the studio about this pic, no one at Disney is thanking Jeffrey Katzenberg for micro-managing the original? C’mon, Mouse House, give credit where credit is due. Even if Jeffrey is a big pain ineveryone’s ass. 3. Not far behind is Alcon Entertainment’s Dolphin Tale in 3,507 theaters.Distributor Warner Brossaid it opened with $5M today and rival studios think it’s headed to $17M for the weekend.Alcon is expectingthe heartstrings-pulling pic to jump 60% on Saturday because of the family film bump and win the weekend.Hmm. Remember,it’s also playing in the most theaters.According toCinemaScores, parents and kidsaudiences are giving it an A+. “The film is very inspirational, and tracking is terrific.We will own the family marketplace,” an exec told me.Warner Bros was looking to give Moneyball a run for No. 1this weekend, but didn’t anticipate the continued strength of Lion King 3D. The strategy for Dolphin Tale was to reach primarily parents and kids with this real-lifestory andfine ensemble cast. The studiodevised a very long trailer campaign in order to get maximum exposurebeginning in April and playing through the summer on everything from Rio to Cars 2.The TV strategy wasrobust, covering everything from kids cable in late summer before school started, through key season premieres such as Dancing With The Stars and Biggest Loser,to a wide array of sponsorships with Discovery, Teen Nick, Lifetime, Nation Geographic, Disney XD, MTV, and more.Warner Bros crafted an aggressive word-of-mouth screening program that involved 3 full roundsin the top 60 markets. Military and home schoolers were targeted as well asyouth groups and other family-oriented orgs. The director and cast completed a 7-market PA tour that includeda junket to accommodate Winter, the real-life star of the film who had her ownlive Winter-cam.Online, there was afirst-time integration with the Spongebob Squarepants Facebook page given thesea theme. 4.Lionsgate’s Abduction in 3,118 theaters may end up$3.8M Friday and what could be only a$10M opening for the weekend depending on how front-loaded it becomes. (That’s what happened to Zac Efron in Charlie St Cloud.)Through Sunday,Hollywood eyes will be focused onits starTaylor Lautner in his first leading man role in an action thrillerbecause he’s been very much in demand — presumably because of his enormous Twi-hard fan base and aggressive promotion of his films –but not because of any solo box office which the 19-year-old has done yet. Then again, I’velearned thatLautner’s $36M-budget action thriller was outspent 4-to-1 in marketing dollars by both Sony and Warner Bros leading up to this weekend. (Shame on Lionsgate’s Jon Feltheimer for tying everyone’s hands even after powerless Alli Shearmur pleaded.)So the jury is still out on whether this Twilight kid can open an envelope,especially in as rotten a reviewed movie as this one was directed by John Singleton. (“Silly” and “convuluted” were the words used most often to describe it.) Audiences didn’t think it was quite as bad as critics, giving it a B- CinemaScore.Too bad Lionsgate can’t seem to make a decent movie or market one anymore. A $10Moutcome is less than the $12M-$14M range which the studio told me it needed to show a “nice profit” for the film.”ButTaylors a great kid. Hes worked hard for us, doing about 8 national TV shows and endless amounts of press,” one of the execs said to me. “We know the opening weekend box office averages for Taylors Twilight co-stars, so this falls in the zone of what was to be expected. There are lots of movies opening this weekend to a variety of audiences, but ours is laser-targeted to tweens and we hope to dominate that market.”Lionsgatesimultaneously streamed the premiere to an additional 20 regional markets and broadcast the Red Carpet online as ‘The Abduction Fan Premiere Live Event’with 50M impressions.Media promotions included ABC Family andChannel One, the in-school network that reaches 2.3 million teens aged 1517.Other youth-focused exploitation includedan announcer spot for Tay-Tay at the VMAs (tied to a sweepstakes to ‘Get Abducted’ to the awards). It wasn’t nearly enough. 5.Remains to be seen if Abduction can edge out Killer Elite whichalso may be $10M for the weekend from 2,986 theaters. But when veteran stars like Robert DeNiro, Jason Stathem, and Clive Owenas an intriguing trio still can’t knock off Lautner solo in a lousy movie, that’s worth noting. Open Road Films is expressingoptimism that itspic will likely go upon Saturday after its $3.5M debut Friday. CinemaScore was a better B. I hear Open Roadacquired the film for nothing, only P&A, so it’ll be nicely profitable. Not bad for the company’s first release.A few notes about the Killer Elite marketing campaign: it had the predictablyheavy presence in sports including an ‘NFL on FOX’ TV promotion with a “Killer” prize of trip to LA to hang out with the Fox sports on-air guys, apromotion with Spike TV’s UFC Fight Night, and even Comedy Central’s Charlie Sheen Roast.De Niro made a rare late-night talk show appearance on Jimmy Kimmel Live where he sat down with Kimmel’s security guard-turned celeb interviewer Guillermo. AndMTV Networks did a direct email campaign to target demos within their very largecustomer database. Here’s the rest of the Top 10 6. Contagion (Participant/Warner Bros) Week 3 [3,136 Theaters] Friday $2.8M, Estimated Weekend $9M, Estimated Cume $57.5M 7. Drive (FilmDistrict) Week 2 [2,904 Theaters] Friday $2M (-50%), Estimated Weekend $6M, Estimated Cume $21.6M 8. The Help (Participant/DreamWorks/Disney] Week 7 [2,695 Theaters] Friday $1.3M, Estimated Weekend $4.5M, Estimated cume $154.5M 9. I Don’t Know How She Does It (Weinstein Co) Week 2 [2,490 Theaters] Friday $700K (-55%), Estimated weekend $2M,Estimated Cume $8M 10. Straw Dogs (Sony) Week 2 [2,408 Theaters] Friday $600K (-62%), Estimated Weekend $1.8M, Estimated Cume $8.5M FRIDAY 4 PM: On vacation. So box office is brought to you from a sunny climate where the palm trees sway in time to the dancing trade winds… But back home there’s a fierce fight going on. These are very early grosses, and my sources say Rentrak has been experiencing problems today — thus giving Hollywood even more Maalox moments than usual. Sony’s Moneyball starring Brad Pitt will be No. 1 with approx $8M Friday and possibly mid-$20sM for the weekend. That solid number helps Brad Pitt’s awards chances in this well-received male-centric sports movie. Right now Alcon Entertainment/Warner Bros’ Dolphin Tale and Lionsgate’s Abduction are battling for No. 2 with around $6M today and what could be high teens for the weekend. Interesting, because the heartstrings-pulling pic was tracking much better. Then again, Taylor Lautner’s action thriller is playing in 389 less theaters. So anyone who claimed this Twilight kid couldn’t open an envelope is wrong, wrong, wrong: there are major stars who would be thrilled with that outcome, especially in as rotten a reviewed movie as this one. Open Road’s Killer Elite looks a notch lower – maybe $5M today, and low teens for the weekend. Frequent updates coming with full analysis.

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Jennifer Salke, 'Chuck's' Zachary Levi being Honored at Operation Smile Gala

They needed him away. Everybody was throughout him. Just hanging out him. I couldn't see his face whatsoever." NBC Entertainment leader Jennifer Salke is recalling the tense moments following her boy Henry's birth. "My husband was leaning over him similar to this,In . she states, hands cupping her mind in imitation. "From the thinking to myself, 'Oh my God, there's something mortally wrong with my child.' " She continues, a now 12-year-old Henry sitting beside her in their Universal City office, "After they switched and came toward me, I'd among people moments where all of the appear dropped out." She breaks. "I believed to myself, 'These people will probably say something in my opinion at this time around that's prone to change my existence forever.' " Just what the doctors distributed to her tomorrow did change her existence, while not for your reason she thought it could. Henry was produced getting a cleft lip, a birth defect so common worldwide that every three minutes a youthful child exists with this particular or possibly a cleft palate. Fortunately for Jennifer, who for virtually 10 years offered just like a high-ranking executive behind such hits as Glee and Modern Family at last century Fox TV before joining NBC this summer season, it absolutely was a somewhat easy fix: Two early surgical treatments removed any real trace. (She then had twin kids who don't put on cleft conditions.) It isn't super easy for sufferers elsewhere in the world, where one inch 10 children born getting a cleft condition will die before their first birthday, frequently from insufficient diet. Since 1982, Operation Smile makes this its cause, delivering greater than 200,000 free and fairly simple surgical treatments to people using these together with other facial male organ deformation in third world countries. Hunting for a approach to do more, Henry created a fund-raising page round the Operation Smile website this past year. Within several days, he'd elevated $20,000, which he and also the parents were introduced to Smile founders William and Kathy Magee through mutual friend and Smile board member Billy Rose rose bush. Inside the two-plus years since, Henry grew to become one in the charitable organization's most active youth ambassadors. "He involves us getting a pad of paper and starts listing a number of these techniques to boost more earnings for surgical treatments," states Kathy Magee, ticking off good good examples for instance T-t t shirts and DJ benefits (his moniker is DJ Smile). Soon after a period of stateside fund-raising -- Henry's second round elevated $48,000, his third recently began -- and multiple speaking engagements, mother and boy visited to Rio p Janeiro for first nine-day Smile mission. (Operation Smile situated greater than 150 missions this season, delivering on-location surgical treatments and take proper care of cleft sufferers.) In Rio, they remained with patients, educating them in addition to their families. Jennifer traveled getting an image of Henry just like a cleft-lipped baby, which she shown frequently just like a indication from the products these doctors would be capable of do. The pair remained inside the operating rooms, which Henry confesses was "slightly frightening." On Sept. 23, Jennifer and Henry will probably be honored alongside Zachary Levi, Sue Tsao and Giuliana and Bill Rancic within the annual Operation Smile Gala in La. Next, the Salkes will begin planning their next trip: a grin pursuit to Africa. Related Subjects Zachary Levi Philanthropy Chuck NBC Entertainment

Judge Dismisses Copyright Suit Over Fox's 'Percy Jackson' Franchise

Doane Gregory/Fox 2000 Pictures A NY federal judge has overlooked a copyright suit that mentioned last century Fox, the Wally Disney Co. while others mixed up in making in the Percy Jackson quantity of books and film lifted material from numerous youthful-adult books. The suit was filed in May 2010 byRobyn and Tony DiTocco, authors in the Hero Perseus: A Mad Myth Mystery (2002) and Atlas' Revenge: Another Mad Myth Mystery (2004), which told the story from the character named Percy John Allen ("PJ"), a modern day-day teen who descended within the Greek mythological hero Perseus which is summoned to fight ancient battles to have the ability to save the earth while balancing the needs from the every-day teen. The claims collected some attention because the DiToccos were represented by Marc Toberoff, the attorney which has fought against large Hollywood art galleries combined with develop a complaint that listed hundreds of parallels involving the five Percy Jackson books by author Ron Riordan as well as the two books with the litigants. Nevertheless, copyright law suits alleging substantial similarity are tough, and here's another illustration showing a complaintant which has not successful to acquire past the initial threshold of showing misappropriated expression. In the decision on Tuesday, NY Judge Sidney Stein supplies a extended analysis why no reasonable jury could conclude the 2 works are substantially similar. A few good good examples: The PJ books are told in third person.The Percy Jackson books are told in first person by Percy themselves. The PJ books cover the protagonist's existence near to the finish of secondary school and into college. The Percy Jackson material is positioned when the primary character is age 12 to 16. The PJ books educate site visitors about Greek mythology by straight exposition within the messenger Hermes whereas Percy Jackson is told these myths through conversations with some other figures at Camping Half-Blood stream. To make certain, the judge values some parallels, starting with the fact both figures share the identical title. Take into account that title derives within the hero Perseus of Greek mythology, a personality the judge notes is "unquestionably inside the public domain," there's a simple explanation. Plus, other noted parallels for instance figures who've to deal with missing parents and display potency and effectiveness in battles with otherworldly forces are thought being commonplace inside the youthful male hero genre in works for instance Harry Potter and Spider-Guy. The bottom line is, look left at two works and uncover parallels look right and uncover dissimilarities and common ideas. As they are common practice nowadays, Judge Stein favors the medial side that dismisses the claims on summary judgment. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Percy Jackson as well as the Olympians: The Lightning Crook

'The Notebook' Author Nicholas Sparks Sells Drama to ABC

Nicholas Sparks The Notebook author Nicholas Sparks finds a home at ABC. The author has offered The Audiences, a geniune drama concept, for the network. The project requires the Archangel Raphael, who after trading centuries just like a Watcher and invisibly delivering support to humans inside the amount of need, decides to reduce off his wings from passion for Sarah, a mortal lady, to make sure that they can truly be round her for your relaxation of her days. When Sarah's existence is cut short, Rafe remains to wander our world solo just like a fallen angel. Based on the kindness of others and hunted by angels formerly pointed out and below, Rafe travels undercover, undertaking miracles while he searches for this really is of loss and clues to Sarah's fate. Temple Hill Entertainment, the expansion company behind the feature adaptation of Sparks' Dear John, is aboard to produce alongside ABC Art galleries. Sparks and Kristin Hahn (Time Traveler's Wife) written the script for your project, while using best-selling author executive creating alongside Temple Hill. Numerous Sparks' books have effectively been modified for your silver screen: Message in the Bottle, A Stroll to think about, The Notebook, Nights in Rodanthe, Dear John as well as the Last Song, while using Lucky One, Rut and The most effective of Me all in a number of stages of production. Audiences would mark the scribe's first original work with television. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit ABC Nicholas Sparks TV Development

The Bird (L'oiseau)

A Ces Films du Losange relieve a Blue Monday Prods., Arte France Cinema production, in colaboration with Canal Plus, Arte France, Cinecinema. (Worldwide sales: Ces Films du Losange, Paris.) Produced by Bertrand Gore. Directed, put together by Yves Caumon.With: Sandrine Kiberlain, Bruno Todeschini, Clement Sibony, Serge Riaboukine, Alice Belaidi. (French, The the spanish language language, Romanian dialogue)A grieving Bordeaux kitchen worker favors solitude over empathy in French drama "The Bird," though an surprise avian caller seems to own missed the memo. Latest gently observational feature from scribe-helmer Yves Caumon ("Peekaboo," "Boyhood Loves") is his first getting a femme protag, and spindly star Sandrine Kiberlain ("The Women round the Sixth Floor") impresses becoming an earthy lady who just should be alone for a while, pigeons be damned. Though not idiosyncratic enough for wider breakout, fests, trendy satcasters and Francophone areas will allowed this to "Bird" fly. Charming and enigmatic in equal measures, anything-but-loquacious Anne (Kiberlain) is attacked having a handsome friend (Clement Sibony), though she's not interested -- no less than, not now. It progressively emerges, through small products of narrative shrapnel one of the deliberately quiet, normal existence she leads, that she's very easily racking your brains on what direction to go next following a dying of her boy and her separation from her husband (Bruno Todeschini). The divorce was possibly triggered by their opposing techniques for mourning, though Caumon's m.o. offers only clues, not certainties. Lensing is atmospheric, score spare but soulful, and appear design especially significant.Camera (color, HD), Celine Bozon editor, Sylvie Fauthoux music, Thierry Machuel production designer, Sophie Reynaud costume designer, Marie Le Garrec. Examined at Venice Film Festival (Horizons), Sept. 8, 2011. Running time: 91 MIN. Contact Boyd van Hoeij at news@variety.com

Ryan Gosling's 'Drive': A Stunt Driver's Perspective

Drive hits theaters today (September 16), and director Nicolas Winding Refns stylized, synth-soundtracked action flick is one of the best things youll see this year just trust us. We were blown away by the story of Driver (Ryan Gosling) a stuntman by day and a getaway wheelman by night who falls for a vulnerable neighbor in peril (Carey Mulligan), and finds himself embroiled in a twisted heist involving her husband (Oscar Isaac). Bryan Cranston, Ron Perlman and Christina Hendricks deliver in top-notch supporting roles, and Albert Brooks is absolutely menacing as the villainous Bernie Rose. The movie is chock full of elaborate stunts, which got us thinking what was it like to coordinate the action of Drive? We sat down with Darrin Prescott, the films Stunt Coordinator and Second Unit Director, to find out. Darrin has been a member of the stunt crew on 95 films, including Independence Day, Blade, The Matrix Reloaded, Spider-Man 2, The Bourne Supremacy, The Bourne Ultimatum, and Mr. & Mrs. Smith. Prescott enlightened us with behind-the-scenes knowledge of his work with Refn and Gosling, the collaboration involved in pulling off many of "Drives" sequences, and various other tricks of the stunt industry trade. MTV: Talking to you is kind of meta you were the stunt coordinator on a movie about a guy playing a stunt coordinator. Prescott: [Laughs] Yeah that was kind of funny it was a bit different for us, for sure. How did you get into the stunt industry was it always a dream of yours? I kinda grew up, like most kids, just jumping your bikes off of stuff and doing stuff that all kids do. My dad got me into motorcycles when I was pretty young, and my parents took me to the drive-in to see the movie Hooper with Burt Reynolds. I was probably 10 at the time, and thats all I wanted to do. I thought that was the greatest job ever. And from that point on I wanted to be a stuntman. In Drive, Ryan Gosling plays a stunt driver by day and a getaway driver by night have you or anyone you know been involved in using your talents for other purposes? [Laughs] No, not really. Back in the early days when I was becoming a stuntman, we used to rent cars and then go and find empty parking lots and learn how to slide the car and stuff like that, and then wed bring the car back and the tires would be bald and wed have rubber all over our faces and stuff and wed just turn the car back in. Did you get your security deposit back? Yeah we never had a problem theyd inspect the car and wed stand in front of the tires so they couldnt see that they were flat. There are a few behind-the-scenes moments in Drive that show Ryan Gosling as the driver on various sets as a stunt driver, how authentic are those? And even specifically when you were on set, did the stunt crew serve as a sounding board for creating a more realistic atmosphere? Yeah, Ryan came out and did a lot of driving himself we put him through a stunt driving training course. The guy who doubled Ryan is actually an instructor at probably the best stunt driving school there is. And he ran Ryan through a lot of the paces. Ryan is probably one of the best actors Ive ever trained hes a phenomenal driver, he did really well. As far as the actual choreography of the action goes, myself and my team would conceptualize different things based on what Nicolas had told us. We would take little matchbox cars and show him on a table what wed like to happen, and wed hone it in from there. How hands-on did Ryan get when it came to doing his own stunts, and aside from that, how do you handle say an actor who wants to be more involved in stunts but really cant handle it? Where do you draw the line? Well it really depends. Like I said, Ryan was really handy. Its something that we basically qualify on the day. I know by taking him out and with other actors how much I can get out of them safely, how confident they are, how well they listen, and things like that. It all depends if were not going to see Ryan driving, then theres no reason for Ryan to do it, theres no reason to take the chance. He may be able to go down the road and throw a 180 or something, but when they put a whole lighting package on the hood of the car and he cant see theres a lot of things that come into play. Its probably really helpful, too, that in some of the scenes Ryan was wearing a mask. Yeah, it helped for sure but the double couldnt see anything out of the mask, it was funny. The eyes were horrible. Thats kind of dangerous, then, isnt it? For a guy whos driving a car on set to not be able to see? Yeah, a little bit. We cut the eyes out so he could see better, and this is a guy has been on my team for a long time and if he says hes comfortable then he is, and if hes not then we need to fix something. What about working with Nicolas what was that like? He has a very original aesthetic, specifically with some of the slow-motion stuff. How did you plan for that? Yeah he had a tone that he wanted for the filmI was the second unit director, so I shot a bunch of the driving sequences, and we sat down together and he had discussed what he liked from different movies hes got a great vision, wed go through shot by shot and hed tell me what he wanted and I used every trick in the book to try to make it look fast and to make it work, but hes very specific with what he wants and that makes it easier for me. What are some of those tricks in the book youre talking about, as far as making driving scenes look faster? Well, he wanted to shoot pretty much everything on a super-wide lens, which can slow everything down as far as car chases go. So we ended up driving a lot faster than we wouldve normally. And then we had to play really close to camera and move camera quite a bit so the camera is never static. We also used a lot of foreground elements, a lot of wipes. We would take the cars when you see them leave the pawn shop and theyre racing down the street a lot of those cars theyre passing are actually parked, theyre not even moving. So it shows more of a speed differential. But we were cookin pretty fast there are certain camera rigs we used, and we pulled out as many of the stops as we could. There was a point where we were just throwing handfuls of dirt out onto the road so it would kick up dust and add something to the frame to add speed to it. There are a handful of major driving-related action sequences in the film which was the most challenging for your team to coordinate and shoot? Probably the most challenging was the pawn shop scene. Just because Nicolas wanted it really wide, and we didnt have a lot of time to shoot it. And they wanted a stunt that had never been seen before, which is not uncommon. That makes it challenging. Drive wasnt a $150 million picture that we could go out and rehearse and test and rehearse and test, so me and a couple guys on the team came up with an idea for a stuntand the problem is we only had enough money for one test and we set everything up and did the test and it didnt work. It didnt come off even remotely close to what we wanted. So we went back to the drawing board and everybody sat around the table and we said, So heres how the gag went if we had more money, wed test again and fix what we know went wrong and try and suss it out, and they said, Well we dont have any more money. And I said, Well Im happy to make the changes and do it on the day, but everyone has to be on board with the fact that we dont know what were going to get for a wreck. And Nicolas said, Great well do that! And we came in and the stunt didnt go the way we expected it to go, but nonetheless it was so cool Ive never seen a wreck happen like that. And Nicolas ended up loving it. Thats the one you end up seeing in slow motion behind Christina Hendricks head in the car, and it was just really different and organic. But it was definitely a challenge setting all that stuff up with the time we hadand that particular driving maneuver is pretty cool, where the guy goes from reverse its a reverse 270 out of a corner and they held it all in one shot, which I really like. So for that particular scene from the moment of conception to testing to shooting what tight time period are you talking? It was all kind of tight, because you have to figure out what these cars are going to do so then you can then give them to the special effects department and they can build cages. So it all needs to be agreed upon early. We only had a few days to conceptualize what the chase was going to be. I think we hadmaybe a couple days to shoot the car chase. It was really tight for everything we wanted to do at a few different locations. Frankly, that to me is the most memorable car chase scene in the movie. Thanks! Its kind of nice its been getting a lot of props. Ive done the bigger budget movies, and I dont want to say its easier but we go and do a Bourne or something and weve got months to shoot that second unit, and for people to look at this one and to say it stands up is really kind of cool. We certainly werent the budget of a Bourne or a Fast and Furious. It sounds like you had a lot of say in the way that these action sequences unfolded is every director as flexible and collaborative as Nicolas was with Drive? Its definitely a director-to-director basis. Nicolas is so egoless in his directing the nice thing about him is he knows what he wants, but hes open to suggestions within that scope, as long as youre on the same tonal path as him. We would sit down and discuss for example, the elevator fight, or a lot of the car stuff, and really dial it in, and he was just a pleasure to work with. That whole opening car chase the slow car chase a lot of people just couldnt get their heads wrapped around it, and Nicolas held to his guns and said, This is gonna be cool its in the tension, its not in the speed were gonna build tension from inside the car. And it worked, I thinkits a little different. It did work and its interesting that you bring up the fact that discussing the logistics of a slow-paced stunt scene can be as challenging as those of a higher-risk scene. From the stunt standpoint, it wasnt that hard because there wasnt that much stunt work in it, but from a choreography standpoint to make it interesting that was challenging. And you mentioned the elevator scene too along with the pawn shop scene, its really quite pivotal. Yeah that was another one that Nicolas was quite open to. Originally, they were supposed to leave the elevator and there was this whole fight outside the elevator, and we all discussed how cool it was that he kisses her and then the flipside to it where he just snaps and takes that guy out, and her leaving and the elevator closing. It was a great collaborative process with Nicolas holding to what he wanted, ultimately, but letting people weigh in on it. Its not a big fight we wanted it quick and dirty, and for Ryan to be just kind of violent, like he snapped. Have you ever been asked to perform or coordinate a stunt that you felt uncomfortable with, or straight-up refused to do? I have nottheres some things thatve been proposed where Ill find a different way to do them. Knock on wood, I have a great safety record no one has gotten hurt on anything Ive ever done and Id like to keep it that way. There are things that come along that directors or producers want or somethings written and well find a way around it, whether we have to do it in cutsthere are a million tricks to get what they want. I really cant imagine having the burden on my shoulders of not only my crews safety, but also that of huge A-list actors. There are definitely nights that I dont sleep that well. I try to lay it all out ahead of time well go out and scout something and well talk about it a million times, and you try to stress the danger zones and youll show up on the day and the DP wants to put a cameraman and an operator in a precarious spot, and theres contingency plans that you have in your pocket. The problem is that people are so used to seeing things go right, theyve almost become too comfortable. You have to prepare for the worst-case scenario. And with actors its tough, too. Thats where Ive had the most trouble not with Nicolas, he was great, but with other directors where they want to put the actor in as much as possible. If a stunt man breaks his hand or breaks his arm or something like that, its a big deal, but its not going to stop the show. If Ryan Gosling or someone like that breaks their arm, its all over the news its everywhere. Its way easier to do the stunt than to coordinate it. Tell us what you think of the stunt work in "Drive" in the comments section and on Twitter!

How a Boston Globe Reporter Tried to Reunite The Kinks and Ended Up With a Movie

In the most inspiring midlife crisis of any rock fan ever, Boston Globe arts reporter Geoff Edgers decided to try to reunite the Kinks, and film his attempt (with a lot of help from director Robert Patton-Spruill). The resulting documentary, Do It Again, debuts tonight on PBS. The Hollywood Reporter asked Edgers how he got that story. THR: You've toured the film fest circuit last year, and now Do It Again is on PBS. How do you feel? Geoff Edgers: I've gone through a whole string of different emotions. You see all these people who are in the film festivals who are incredible successes and doing it for a living. You do get tempted -- why can't my film be noticed in that way, you know? But Bill Flanagan told me, "You were never going to get rich off this thing and Ray was never gonna give you permission, so you should be pleased that you're going to on primetime." THR: Your problem was, the Kinks' Ray Davies kept eluding you, but his bandmate and brother Dave Davies and Sting, Clive Davis, Paul Weller, Robyn Hitchcock, Peter Buck, Warren Zanes and Zooey Deschanel did help. Edgers: Right before I started filming in April 2008, I met with Ray backstage in Boston. I handed him a sheet describing what I wanted to do. I had to get approval for [song and clip] licensing, he has to know about it. I'm a huge Kinks fan and I believe it would be good for Ray to have this film out there, it would be good for the Kinks. THR: Why doesn't Ray want us to see this film? Edgers: Control. The whole idea of a reunion is a very emotional thing that probably is very important to him. And to have this random guy in Boston suddenly cast himself into this issue, probably he might find it offensive. His brother participated in a way that's very very moving, I think. And, you know, it's clear that the Kinks can't be the Kinks without Dave. It's about more than just Ray. And I certainly play up the whole sibling rivalry and the problems they have, so that might also bother him. And then just on a simple level, like, he might find me annoying. I wanted the kind of thing you'd see on VH1. What I made was really the ultimate Kinks fan documentary. It's got all these stars in it, and this weird idea of me trying to get them to play with me. It's not a film that turns Ray into a villain, or turns Dave into a hero, but it does make an argument for Dave as an important figure. And somebody who, like, was...you know, was...treated poorly. And, you know, the fact is, Dave does get a voice. He talks about, you know, why he and Ray don't get along, and it doesn't make Ray look good. But it's not like I was out to savage Ray. THR: What's your budget? Edgers: Like $150,000. I raised about twenty grand on Kickstarter. I threw in probably $30,000 of my own money that I still haven't recouped. I raised around $70,000 just from other people. Two investment guys gave me $60,000. You know, my dad helped me out. I actually received incredible generosity from the folks who I'd licensed video clips from for the film. They just basically extended our film festival license -- I paid for the film festival, they extended that license for the PBS run, because they know I'm not gonna make any money off it. "To have a film and have only lost $30,000, that's actually pretty good. I'm a superfan gone mad, you know?" THR: And Sting was probably performing for less than his usual fee? Edgers: For a documentary, you don't pay them anything. Sting was unbelievable in this thing. We also got a couple people we didn't use, including Brian Wilson. And we got Kenny Jones, the drummer for The Faces. My biggest debacle may have been getting Paul McCartney to participate. I went to Las Vegas and filmed the full interview with him, and then after it was done, his managers blocked us from using it, strangely enough. Crazy, right? That was like, $25,000 from the budget right there. THR: What about Brian Wilson? Edgers: I love Brian Wilson. He...is just too difficult. THR: He talks in kind of a circumlocutious fashion. Edgers: He's a damaged soul. it just brought everything to a screeching halt when he would show up on the screen. It was almost cruel. We also didn't use Fountains of Wayne. They were just terrible. I love Fountains of Wayne, but they tried to play this song, and they didn't hit the note right. THR: What song? Edgers: "Better Days." They were having a bad day. THR: But you got some great people. Edgers: Pete Quaife, the Kinks' original bassist, who died last year, he was really, really helpful. He actually licensed an eight-minute home movie that he took during the sixties of his, like, traveling around with the Kinks. I found it actually from a bootlegger and talked to him and he said, "Oh, I had lost that over the years" and I said, "can I license that from you?" THR: So you lost money making your dream film. Edgers: Yeah, $30,000 so far. To have a film and have only lost $30,000, that's actually pretty good. I'm a superfan gone mad, you know? See a clip from Do It Again below: Untitled from Geoff Edgers on Vimeo. Related Topics Paul McCartney Zooey Deschanel Sting Clive Davis

Peter Jackson's Post-Production Company To Open L.A. office

SYDNEY - Peter Jackson's Park Road Post Productions is to set up an office in Los Angeles in a partnership with New Zealand locations marketing agency Film NZ.our editor recommends'Hobbit' Filming Delayed After Peter Jackson Is HospitalizedFirst look at Peter Jackson and Steven Spielberg's Tintin movieNew Line and Peter Jackson Settle 'Rings' Litigation PHOTOS: 'The Hobbit:' Peter Jackson Releases Official Dwarves Photo Under the new arrangement, Vicki Jackways, Park Road Post's head of marketing will also work for Film New Zealand when she takes up a semi-permanent posting to LA in 2012. STORY: 'The Hobbit' 'Like a Family Reunion' for Elijah Wood Park Road Post Productions, owned by Jackson's WingNut Films, is a post production facility that's located alongside a raft of other Jackson related film making companies and infrastructure in Miramar in the New Zealand capital of Wellington. They include Stone Street Studios where The Hobbit shoot s based, Weta Digital and Weta Workshop. STORY: Peter Jackson Helped West Memphis Three Defense Park Road Post general manager Cameron Harland said having a presence in LA was the best way to extract real value from the North American market. "We are delighted to be partnering with such a progressive organization as Film New Zealand and grateful for the support of the industry as a whole. We look forward to delivering real benefit through a more focused market push into the States," Harland said. PHOTOS: 'The Hobbit': Get A First Look At Bilbo and Gandalf The move comes as global competition, through tax and other prodcution incentives, intensifies for production of Hollywood films. FilmNZ chief executive Gisella Carr said the US is a key market and several of New Zealand's competitors, including Australia, have long had representation there. "Thanks to the talents and entrepreneurship of our screen industry across the country, and the backing of successive New Zealand governments, New Zealand has built a remarkable reputation as a film-making culture. New Zealanders would be amazed, and proud, to see how highly New Zealand is rated. Los Angeles-based representation is an important next step in taking full advantage of this reputation," she said. The LA office and partnership expertise will also be available to other New Zealand companies and filmmakers to use. Related Topics International The Hobbit Peter Jackson

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Useful strategies for Precisely How Nicole Kidman Does It in every single Chick Flick

In this week’s new chick flick I Don’t Know How She'll It, Nicole Kidman — she who had sex inside the city, a bastion of recent female fabulosity and our generation’s go-to, couture-sheathed screen heroine in heels — attempts to solve the plight in the twenty-first century lady once more as Kate Reddy, a wife, mother of two, and financial analyst for just about any high-powered investment firm trying anxiously to juggle “it all.” The amount of occasions do co-employees and co-employees request her how she “does it?” A good deal. That’s simply how much she’s doing. Nevertheless it’s not the first time SJP’s put her plucky feminine know-using inside the movies to solve the routine problems in the modern lady. Erection dysfunction Wood (1994) (Not just a chick flick, but nevertheless — observe she'll it! Groan…) Character: Dolores Bigger Challenge to conquer: Boyfriend doesn’t keep his word, is holding her back from her career, wears her angora knitted garments. How Can She Take Action? Dumps his ass. Existence Without Dick (2002) Character: Colleen Gibson Challenge to conquer: Her boyfriend (whose title is Dick, get it?) is cheating on her behalf account. How Can She Take Action? Accidentally-on-purpose shoots him along with his own gun. Problem solved! Your Family Stone (2005) Character: Meredith Morton, an uptight professional Challenge to conquer: Being associated with her boyfriend’s family for your holidays. How Can She Take Action? Through getting a near-total meltdown, falling for the next guy, then acquiring the pieces. Failure to create (2006) Character: Paula, a professional who is experienced in hooking up live-at-home males into fake associations to have the ability to make certain they're re-locate from the parents’ houses. Challenge to conquer: Tripp (Matthew McConaughey), a very-modified live-at-homer who resists her “therapy.” How Can She Take Action? By falling deeply deeply in love with her psychologically-crippled charge. Smart People (2008) Character: Dr. Jesse Hartigan, who falls on her behalf former college professor (Dennis Quaid) Challenge to conquer: He’s a self-involved asshole, and he or she’s pregnant. How Can She Take Action? Leaves him without telling him what is the news, waits for him get to his senses and reunites with him to co-parent twins babies. Sex as well as the City (2008) Character: Barbara Bradshaw, NY author extraordinaire Challenge to conquer: Left within the altar when Mr. Large can get cold foot. How Can She Take Action? Takes her honeymoon to Mexico anyway along with her three nearest female buddies before Large realizes the easiest method to a girl’s heart is through an enormous Manolo-filled shoe closet. Have You Ever Heard In regards to the Morgans? (2009) Character: Meryl Morgan, effective Manhattan real estate agent Challenge to conquer: Marriage to Paul (Hugh Grant) is at shambles due to mutual infidelity and workaholism How Can She Take Action? Reconnects with equally douchey husband while forced into hiding inside a small town within the u . s . states, where which makes it through bears together with a hitman reignites their love. Ugh. Sex as well as the City 2 (2010) Character: Barbara Preston (nee Bradshaw) Challenge to conquer: Marriage to Large is becoming too boring! Mustn’t… cheat.. with Aidan… in Abu Dhabi! How Can She Take Action? She cheats on Large, however feels bad relating to this. They've created up when Large buys her a completely new band. Wait, what?!

John Calley Dies at 81

John Calley, who headed up three major Hollywood Studios and was behind wide-ranging hits from Catch-22 to The Da Vinci Code, has died. He was 81.our editor recommendsL.A. Film Critics honor John CalleyRelated Topics•Obituaries Memorial arrangements are being planned at Sony Pictures Studios. In lieu of flowers, his family asks that donations are made to charity. PHOTOS: Hollywood's Notable Deaths He is survived by his daughter Sabrina Calley and step-children Emily Zinnemann, David Zinnemann (Amy) and Will Firth from his marriage to Meg Tilly. Calley served as chairman and chief executive officer of Sony Pictures Entertainment, which he joined in 1996 following stints as studio chief at Warner Bros. in the 1970s and MGM/United Artists in the 1990s. STORY: Spotlight: John Calley He was honored with the Irving G. Thalberg Memorial Award by the Academy of Motion Picture Arts & Sciences in 2009. "John was unique. As a friend he was always there and always funny. He made life a joy for those he loved," says Mike Nichols in a statement. "As a studio head he was unfailingly supportive and didn't try to do the filmmaker's job. When he believed in someone he trusted and supported him and when very rarely he had a suggestion it was usually a life saver. In fact that's what he was: a life saver." STORY: Studio Legends: Sony "The problem of making a comedy with John is that he was usually funnier than the actors," adds Buck Henry. Says Sir Howard Stringer, chairman, CEO and president of Sony Corporation, "John Calley will be remembered in the history of Hollywood as an extraordinary studio chief, who ran three studios with a maximum of taste and a minimum of tyranny. Even today, the quality of his movies still have contemporary resonance. The Remains of the Day and A Clockwork Orange demonstrate vividly the twin contrasts of British society that together explained the riots. Catch 22 and The Americanization of Emily capture the unsettling ambivalence towards war you might expect from a former American soldier. Men in Black and Spider-man revealed he could partner with a younger executive like Amy Pascal and discover a whole new audience. But John was more than a brilliant executive. I'm not sure he would even like that title. He was a wonderful raconteur, up there with Mike Nichols, Michael Caine and Peter Ustinov who could hold your attention for hours with rich anecdotes that capture the human dimensions of his beloved film industry; love's labors never lost as long as he was there to remember them. His sense of humor made us delighted when we shared his adventures, and envious when we did not. Even in his lengthy illness he never lost his charm or ever felt sorry for himself. Life without his friendship will be so much less joyous. His generosity of spirit made those of us lucky enough to work with him feel we had a loyal and unique companion for life. We did." "John Calley was more than a mentor and boss he was the most extraordinary and generous friend," adds Amy Pascal, co-chairman of Sony Pictures Entertainment. "He had a steely business mind and the soul of an artist. His sense of humor about the business never made him cynical or got in the way of his passion for movies and directors. John's taste may have seemed idiosyncratic but his pulse was unerring. How could one person have championed All the President's Men, Blazing Saddles, The Exorcist, Dirty Harry, Klute, A Clockwork Orange, at the exact right moment in time? Those are the instincts of a one-of-a-kind executive. He never pandered to the audience, he never accepted conventional studio wisdom and he never lost his enthusiasm. John was my guiding light. He taught me everything." "John Calley was a genuine legend as an executive, producer and passionate lover of the art of filmmaking," says Michael Lynton, chairman & CEO of Sony Pictures Entertainment. "We know the entire community shares in our deep sadness over his passing. He was an extraordinarily gifted man, whose grace, wit, sensitivity and intelligence were an inspiration to all of us and will be sorely missed. We will not see his like again." Calley was born on July 8, 1930, in Jersey City, N.J. He joined the entertainment industry at 21 after serving in the U.S. Army, first working in the NBC mailroom in New York City. He later held positions in sales, production and programming before becoming director of nighttime programming. He also served as vp of Henry Jaffe Enterprises, and Ted Bates advertising as vp in charge of radio and television programming. His next move was to Filmways, where he produced movies like Catch-22 and Ice Station. He moved to Warner Bros. 1969, first serving as head of production, president and vice chairman. In 1989, he came an independent film producer with Nichols, producing movies like Remains of The Day. In 1993, he joined MGM/United Artists Pictures as president and chief operating officer. In October 1996, he joined Sony Pictures Entertainment as president and CEO, overseeing such films as Spider-Men, As Good as It Gets, Men in Black and Air Force One. He retired in 2003. He was a member of the board of the American Film Institute (AFI). Related Topics John Calley Obituaries

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Toronto 2011: 'Goon' Sells to Magnolia Pictures' Genre Division (Exclusive)

Carlos Alvarez/Getty Images Magnolia Pictures' Magnet division has swooped within the hockey comedyGoon, starring Seann William Scott, Liev Schreiber and Jay Baruchel. The look opened up at Toronto and contains been building buzz ever since then. Sources the acquisition influences roughly $2 million range. PHOTOS: 13 Movies to comprehend within the Toronto Film Festival Goon focuses on Doug Glatt, a bouncer (Scott) that's been touched with the fist of God. Upon finding both his right hook and skates, he joins a downtrodden hockey team and inspires them into new levels. Alison Pill and Marc-Andre Grondin will also be inside the movie. Michael Dowse directed. Baruchel and Evan Goldberg, the frequent collaborator of Seth Rogen, written the script, inspired with the book Goon: The Actual Story from the Unlikely Journey into Minor League Hockey, put together by Doug Cruz and Adam Frattasio. COMPLETE COVERAGE: Toronto Film Festival Baruchel is yet another producer concerning the project, that's being produced by DCP Productions' Don Carmody as well as David Gross and Jesse Shapira. CAA, attorney James Feldman and Myriad Pictures repped the film making the sale. UPDATE: Magnolia has launched a news release verifying The Hollywood Reporter's story and adding the following comment from Magnolia/Magnet leader Eamonn Bowles: "Goon can be a pucking blast. It's a complete crowd pleaser that has all the facets of the following comedy classic." Email: Borys.package@thr.com Twitter: @Borys_Package Toronto Worldwide Film Festival Jay Baruchel Liev Schreiber Seann William Scott Worldwide

Broadway back after Irene

Broadway recovered seamlessly from Hurricane Irene last week, with grosses rebounding and every production back up to a full eight-perf week. But there was early evidence of the upcoming September slowdown, with some shows posting receipts that didn't reach the heights of more abundant frames earlier this summer. Still, five tuners made more than $1 million each last week, and the one show currently in previews, "Follies" ($806,857), gained enough steam to land in the top 10 for the first time. That's a solid pre-opening take for the revival of a musical that's far more serious-minded than most of the Street's other options. Production, toplined by Bernadette Peters, will look to build on that foundation as it heads toward its Sept. 12 opening. Whereas new-minted juggernauts such as like "The Book of Mormon" ($1,272,792) and enduring chart-toppers such as "Wicked" ($1,602,104) stayed robust, other productions proved more vulnerable to the late-summer slippage. Take "Mary Poppins" ($761,321), which didn't hit the same heights that the family-magnet show posted in its busiest summer frames. A trio of shows played their final perfs over the weekend, exiting prior to the difficult back-to-school sales climate that hits Broadway after Labor Day. But none of the three -- "Catch Me If You Can" ($600,545), "Baby It's You" ($407,517) and "Master Class" ($346,806) -- logged a notable boost in last-minute biz. Regardless, every single production on the boards was up compared to the prior, partly hurricane-darkened frame, with "Anything Goes" ($781,412) leaping a giant 150% and "Billy Elliot" ($711,702) doubling its figures from the previous sesh. Overall sales rose $6.8 million to $18.5 million for 23 shows on the boards, outpacing the same week from last season, which came in at $16.7 million for 22 shows. With three tuners now gone and one more, "Hair" ($337,645), playing its final frame this week -- not to mention the seasonal sales slowdown -- Broadway B.O. will continue to deflate for the next few weeks before the onslaught of fall openings begins. Contact Gordon Cox at gordon.cox@variety.com