The Cary Grant Gay Factor

“I’m going to suggest something radical: We’ll never know whether Grant was or was not gay, and it does not matter. What matters was that his image, for all its perfection, also had its points of flexibility — living intimately with a man for long stretches of time, doing cute man things together — that leaves the possibility open. Grant made millions of women swoon, and millions of straight men aspire to his likeness. But he also provided thousands of queer audience members with the hope that famous, successful, high-profile performers and homosexuality were not mutually exclusive, further suggesting straight, high-class masculinity as an elaborate masquerade.” [The Hairpin]

Super Bowl to become Streamed Online the very first time

Super Bowl XLVI logo design Should you in some way end up not before a TV on Super Bowl Sunday, don't worry: You'll still may have the ability to watch the overall game because it will likely be streamed online the very first time ever.Madonna to headline Super Bowl halftime showNBC will air the Super Bowl on February. 5, but the overall game will even stream on National football league.com and NBCSports.com, the network introduced Tuesday. Verizon customers will have the ability to watch using their products via National football league Mobile. NBC's broadcasts of untamed card Saturday and also the Professional Bowl may also be streamed online."We're pleased to utilize our partners NBC and Verizon to create our fans different options to look at their most favorite sport throughout their most favorite season,Inch Hendes Schroeder, National football league Senior V . P . of Media Strategy and Development, stated inside a statement.Take a look at our National football league section and not miss a gameThe mobile move is certainly not new for NBC: It's been streaming its Sunday Evening Football telecasts for four seasons. "Having a heritage of streaming live National football league games since 2008, we're especially excited to now bring our unique and innovative SNF Extra video experience towards the National football league 2010 nfl playoffs, Professional Bowl, and Super Bowl," stated NBC Sports Digital Media's Ron Cordella stated.Super Bowl XLVI airs February. 5 from Indiana. How can you intend to watch the overall game?

Welles Citizen Kane Oscar Costs $861K

First Launched: December 21, 2011 11:42 AM EST Credit: Warner Bros. La, Calif. -- Caption 'Citizen Kane' movie posterThe Academy Award statuette that Orson Welles won for your original script of Citizen Kane was offered more than $861,000 Tuesday in La. Nate D. Sanders Auctions representative Mike Heller mentioned bidders from around the world, including David Copperfield, vied for your Oscar. The 1942 Oscar was regarded as as lost for several years. It made an appearance in 1994 when cinematographer Gary Graver tried to sell it off. The acquisition was stopped by Beatrice Welles, Orsons youngest daughter and sole heir. Copperfield, who was simply outbid inside the auction, mentioned he admires Welles not only for his film accomplishments, but as they, too, will be a magician. Welles situated Copperfields first television special. The ah declined to create the finest bidders title. It mentioned only numerous Academy awards have offered for virtually huge amount of money. Michael Jackson paid out $1.54 million in 1999 to find the best picture Oscar granted to David O. Selznick for Gone While Using Wind. Copyright 2011 with the Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

REVIEW: Fincher, Without Showing Too Much, Makes a Beguiling Girl with the Dragon Tattoo

American versions of foreign films are almost always put in the position of having to swagger onto the scene, justifying their existence almost before they even exist. But when news hit that David Fincher was making a Hollywood version of Stieg Larsson’s explosively popular novel Girl with the Dragon Tattoo, I didn’t hear anyone breathe a sigh of regret; the mood seemed to be one of cautious anticipation. That may be because even though all three of the Swedish films based on Larsson’s Girl trilogy made it comfortably to these shores, only the first of them — directed by Niels Arden Oplev — managed to ignite much enthusiasm among critics and audiences. That first Girl movie was efficient even within its pokiness, although its excessive grisliness and fanatical obsession with forensic photos didn’t make it particularly exciting, just unpleasant. Oplev had left Fincher plenty of room for improvement, or at least room for something different. Now, with his own Dragon Tattoo, Fincher brings us a picture that’s meticulously made and yet doesn’t come off as if it’s trying too hard. The Fincher version doesn’t actively negate the presence of the earlier one — it doesn’t have to — but its confidence and bravado are like a strong blast of sunlight with the ability to fade the memory of whatever came before. That’s partly because Fincher — along with screenwriter Steven Zaillian — knows his way around a complicated thriller and partly because of his lead actors, Daniel Craig and Rooney Mara. Craig plays magazine journalist Mikael Blomkvist; when the movie opens, he’s just been released from jail for sticking his nose into powerful people’s business, an impulse that shapes his life’s mission. Not long thereafter, Henrik Vanger (Christopher Plummer), the patriarch of a sprawling, chilly, mysterious family, enlists the journalist’s help in finding out what happened to his niece, who disappeared under mysterious circumstances in 1966, at age 16. Blomkvist begins by questioning various Vanger family members — from prim, cross-wearing Celia (Geraldine James) to convivial, wine-pouring Martin (Stellan Skarsgrd) — until his peregrinations bring him into contact with the bleached-eyebrowed, multi-pierced Lisbeth Salandar (Rooney Mara), a hacker extraordinaire who’s already hip to nearly everything about him, including the extracurricular activities he engages in with his editor at the magazine, Erika (Robin Wright). When quizzed by a third party about Blomkvist’s sexual exploits, Lisbeth delivers her capsule review in a monotone: “Sometimes he performs cunnilingus — not often enough, in my opinion.” She pronounces that initial “o” (for “orgasm,” maybe?) as if it were a word unto itself. If you’ve read Larsson’s book, or even if you’ve just seen Oplev’s film, you know how it all ends. But Fincher makes whatever plot details we have stored away inconsequential: His picture is all about movement as opposed to action, though it has some of that, too. Why do characters go where they do, say what they do? Fincher nudges us along, stoking our voyeuristic impulses, sometimes making us care about characters and plot developments almost in spite of ourselves. He’s not particularly fixated on gloomy Swedish landscapes (although when he and cinematographer Jeff Cronenweth train their eyes on those bummed-out, puffy-cloud skies, they do look pretty foreboding). Instead, Fincher makes it his business to read faces: Although it’s taken a while, Fincher has become more of a people person as a filmmaker. If Se7en and Fight Club were mostly about jolting us with killer style (to some of us, it was empty style), something else seemed to emerge in him around the time of Zodiac, a deeper interest in human frailty and hubris and all the ways of expressing it. That’s better for actors: Jesse Eisenberg, in particular, blossomed under Fincher’s attention in The Social Network, and while Craig is probably seasoned enough, and good enough, not to need tremendous amounts of hand-holding, he still thrives in the environment Fincher has created in Dragon Tattoo. Craig has one clear advantage over Michael Nyqvist, the actor who played the same character in the Swedish Girl movies: He has erotic charisma to spare, as opposed to Nyqvist’s perfunctory, doughy sexuality. But in addition, Craig has a face that comes with a conscience attached. (He was phenomenal in Jim Sheridan’s ill-fated horror thriller Dream House, a picture that, sadly, went wrong in a million different ways, though it had more morose, atmospheric beauty than perhaps any movie released in 2011, with the exception of Lars Von Trier’s Melancholia.) As Blomkvist, Craig is equal parts driven and tortured. As his investigation takes him deeper into dark, dank corners of sexual torture and murder, Blomkvist seems to realize how little he can do to help. But instead of hampering him, that knowledge spurs him on — it’s a special brand of enterprise born of despair, and Craig plays it with doleful intensity. Mara’s Lisbeth is his natural counterpart, a rational being whose compassion for victims past, present and future manifests itself as diffuse fury, a fuzzy dandelion head with darts where the seeds should be. Noomi Rapace’s Lisbeth was the best feature of the three Swedish Girl pictures, which otherwise decreased in relevance until the trilogy trickled to a close. Mara doesn’t replace the Swedish actress so much as reinvent her flinty directness. She also has a nose for what’s cruelly funny: About to get her revenge on a man who has victimized her, she intones, “Lie still. I’ve never done this before. And there will be blood.” She’s like a ghoul hovering over his new bride on the wedding night. One of the most remarkable things about Fincher’s Dragon Tattoo is how violent it isn’t, at least in terms of what he’s willing to show. He’s not out to shock or titillate, nor does he go out of his way to underscore the feminist revenge fantasy element of Larsson’s material (he doesn’t have to). The Swedish Girl pictures took an unseemly glee in repeatedly pushing forensic photographs right in front of us, front and center. Fincher shows us evidence of these diabolical sex crimes far more discreetly, without undermining their weight. We see pictures clicking by on a computer screen so quickly that we can barely tell what we’re seeing — then again, we just know. The movie’s central rape scene is candid and horrifyingly intimate, without stepping over the line into sick prurience. But Fincher has a sense of humor, too, at least sort of: He orchestrates the finale with an operatic kick that’s sick-funny, reminiscent of Tom Noonan undulating — with that damned stocking pulled halfway over his face — to “In-a-Gadda-Da-Vida” in Michael Mann’s scary-as-heck Manhunter. The Girl with the Dragon Tattoo isn’t trying to be a great work of movie art; instead it succeeds as a sharp piece of entertainment craftsmanship. The ripples of pleasure and dread it generates are nearly indistinguishable. Follow Stephanie Zacharek on Twitter. Follow Movieline on Twitter.

'Avatar' amplifiers up HD extra supplies on iTunes

'Avatar iTunes Extra supplies Special Edition'Given "Avatar's" technological accomplishments, it's really no surprise twentieth century Fox is embracing James Cameron's sci-fi blockbuster to interrupt new digital ground using the film's release on Apple's iTunes.Beginning 12 ,. 20, the film is going to be obtainable in HD -- the very first within the format for Fox on iTunes -- and provide interactive extra supplies which will enable audiences to deconstruct 17 moments in splitscreen that reveal the way the f/x for that sequences were produced through various quantity of a performance capture and publish-production processes. Like a scene plays, the screen is split up to concurrently show various f/x layers, with every easily altered without having to open separate home windows. Another feature allows customers move a cursor in all directions just like a torch to show what a part of a scene was greenscreen on set while making the film.The "Avatar iTunes Extra supplies Exclusive EditionInch includes Cameron's original script, his scriptment along with a gallery of some 1,700 images.To date, the feature-filled digital version of "Avatar" are only able to be performed on Apple and PC desktop and laptops, not pills, even though products could be attached to a TV.Apple is prices the exclusive edition at $19.99 for that HD edition and $14.99 for that SD version.Cameron's Lightstorm Entertainment worked with carefully with twentieth century Fox Home Theatre to build up the interactive extra supplies, offering up footage from the library and fine tuning the characteristics.InchElectronic platforms like iTunes usher in new methods to communicate with watching movies like 'Avatar,'" stated Aubrey Freeborn, senior Vice president of promoting and product management for worldwide VOD and electronic sell-through for twentieth century Fox Home Theatre. "These new interactive features boost the experience and encourage digital possession."Fox hopes to produce similar interactive special models the coming year for other game titles in the library and wishes to expand their offering through other e-tailers later on.Growing digital sales is, naturally, something Fox along with other galleries are searching to develop as DVD sales still decline. Throughout the very first half of the season, the electronic sales of films rose 4%, generating $270 million, far under VOD rental fees, which arrived at $929 million, also up 4%, based on the Digital Entertainment Group. Just the number of copies of iTunes' exclusive edition of "Avatar" will sell remains to appear. While created for "Avatar" fans, Fox and Lightstorm realize the characteristics may appeal more to film students or filmmakers who would like to explore the development process. But as collectible anniversary boxed teams of game titles, like "The Seem of Music" and "West Side Story" have offered well, Fox is embracing "Avatar" to produce a similar product for that digital era.Fox made a decision to postpone on selling HD films on iTunes so far because of piracy concerns -- exactly the same problem which has stored galleries from offering up more HD versions of the films through other online merchants as digital downloads. But Apple convinced Fox that it is copy-protection software programs are secure enough, that ought to help get other galleries aboard, particularly with "Avatar" because the title leading the charge."Avatar," the greatest-grossing film in the worldwide box office, has gained nearly $2.8 billion. Film can also be the very best-selling Blu-ray ever, while along with its DVD, ranks because the top homevideo discharge of 2010. Contact Marc Graser at marc.graser@variety.com

Nominations reaction: Trent Reznor, composer, 'Girl With the Dragon Tattoo'

Trent Reznor"Right after 'Social Network,' I wanted to work with (director David Fincher) again. David told us what he expected and heard in his mind. We spent six weeks coming up with what the film sounded like -- the emotional content and what belonged in the story. I look at him as a mentor and a peer and I have nothing but respect for him. If he called me to work on the next film, I'd do it without hesitation. It's been an unexpected and interesting diversion in my career."-- Trent Reznor, composer, "The Girl With the Dragon Tattoo" Contact Stuart Levine at stuart.levine@variety.com

Other company company directors inside the mix

Tomas Alfredson"Mess Tailor Soldier Spy"The considerably acclaimed Swede follows up his chilly vampire tale "Let the most appropriate one In" using this tightly wound Cold War puzzle about British and Russian spies and traitors. In the possession of, the plot of John Le Carre's intricate novel, which needed a 1979 British miniseries nearly six several hours to cover, resolves to have an elegant, atmospheric 127-minute thriller getting a distinguished cast, headlined by Gary Oldman. * * * George Clooney"The Ides of March"Within the fourth directorial outing, Clooney occupies a obvious, crisp political drama, based on Love Willamon's play "Farragut North," that's ultimately a little more about media manipulation and mistakes than actual politics. A skilled cast includes a live training Philip Seymour Hoffman and Paul Giamatti, alongside Ryan Gosling since the opportunistic press secretary to Clooney's winning but problematic presidential candidate. * * * David Cronenberg"A Dangerous Method"Along with his usual surgical precision, Cronenberg can get fully beneath the skin of two leaders in the subconscious, Jung and Freud, then one disturbed patient, Sabina Spielrein, in study regarding the complicated dynamic involving the trio. Modified by Oscar champion Christopher Hampton ("Atonement") using their own play, the film offers intellectual pleasures for Academy voters that are look foward to so. * * * Clint Eastwood"J. Edgar"Second only to Steven Spielberg since the most-nominated living director, Eastwood became a member of with Leo-nardo DiCaprio and Oscar-winning film author Dustin Lance Black ("Milk") relating to this ambitious study from the secretive FBI honcho, mixing five decades of high-level U.S. history with fascinating conjecture of a guy whose requirement of energy masked deep personal discomfort and possible homosexuality. * * * Paul Feig"Bridesmaids"Single-time comedy thesp who gone to live in working behind the digital camera while using series "Freaks and Brainiacs," veteran TV director Feig powered this romantic-comedy chick-flick into that rare comedy space occupied by fully rounded people acting like identifiable people. While other helmers have certainly impressed this year, Feig may be the only person to own found a perfect balance of pathos and projectile vomiting. * * * Jonathan Levine"50/50"Building an affecting yet unsentimental comedy about which makes it through spine cancer, Levine ("The Wackness") will get going performances from Ernest Gordon-Levitt and semi-comic support Seth Rogen, who works extremely well in the more serious role than usual (the 2nd also produced, asking uncle, cancer survivor Will Reiser, to pen the script). With focus on detail, Levine offers the film a geniune dimension. * * * Roman Polanski"Carnage"The Oscar-winning director of "The Pianist" come up with three more Oscar individuals who win (Kate Winslet, Jodie Promote and Christoph Waltz) then one nominee (John C. Reilly) for your film adaptation of Yasmina Reza's Tony-winning play. Of course, Polanski brings his black spontaneity with a scenario that veers from superficially polite to outright hostile throughout the time of the good 80 minutes. * * * Nicolas Winding Refn"Drive"The Danish helmer (responsible for "Bronson" as well as the "Pusher" trilogy) won the Cannes jury's top pointing prize for creating this moody noir vehicle featuring Ryan Gosling just like a taciturn Hollywood stuntman who moonlights just like a getaway driver. Refn also leads to a very frightening performance in the playing-against-type Albert Brooks, who proves there's a really little distinction between rage and comedy.. * * * Tate Taylor"The AssistanceInchIn line using the bestseller by Kathryn Stockett with confidence modified having a childhood friend with precious little prior pointing experience, "The AssistanceInch is certainly an psychologically satisfying story with a large figures and performances from an ensemble which was already recognized through the nation's Board of Review. The runaway hit acquired nearly $200 million worldwide, substantially enhancing Taylor's stock around. * * * David Yates"Harry Potter as well as the Deathly Hallows: Part 2"The veteran of four Potter films, Yates introduced a unified vision for the series' partner, conjuring up a considerably deeper, more dangerous and ominous world for your acclaimed climactic final chapter in the decade-extended franchise. The wizard kids' hard-fought against against journey to the adult years is underscored by thrilling set pieces and Take advantage of Fiennes' twisted turn as Voldemort.EYE Round The Oscars: THE DIRECTOR Helmers hot to globe trotWoody Allen Stephen Daldry David Fincher Michel Hazanavicius Terrence Malick Bennett Burns Alexander Payne Jason Reitman Martin Scorsese Steven SpielbergIn this mix Contact the number newsroom at news@variety.com

Backstage photos leave Paul Thomas Anderson's next

Vintage-style photos from Paul Thomas Anderson's approaching drama The Particular are actually released, showing accessories killing time backstage in fantastically detailed period garb.Because the pictures, clicked on by digital digital photographer Jack Erling, don't feature the film's stars, they suggest the enigmatic director has not lost his persistence for authenticity or his arthouse sensibility.The auteur's first since 2007's searing You will notice Blood stream, the project initially fought to discover financing but was already most likely probably the most anticipated films of 2012.It'll tell the storyplot from the youthful drifter (Joaquin Phoenix) in 19 fifties America, who falls together with 'the Master' - the charming leader from the pseudo-religious belief system carried out by Anderson favourite Philip Seymour Hoffman - and also the daughter (Could Be).Its premise and inspired cast should alone be adequate to tantalise, nevertheless the very carefully veiled parallel with Scientology - the Boogie Nights guy nevertheless declines - could upset the considerable ranks of L. Ron Hubbard (the 'L' means Lafayette...) disciples in Hollywood and ruffle some belief-based lower.Let's hope any polemical aspects don't come in the expense in the movie's artistic merit. For now, love this monochrome glimpse behind the curtain. The sartorial signs are wonderful.The film will most likely hit cinemas by late 2012.

9 of the Year's Most Inspired Screenwriting Pairings

Gail Berman and partner Lloyd Braun have relied on two primary mantras in running their company, which in less than five years has emerged as a player in developing TV series on broadcast and cable, creating websites that pull in millions of visitors and placing several feature films in development and production.our editor recommendsTHR's Women in Entertainment 2011 Highlight ReelTHR Women in Entertainment Attendees Answer: What Makes a Power Leader? (Video)NBC Buys 'Apocalipstick' Comedy, 'Masters and Apprentice' Drama from BermanBraun (Exclusive)The Scene at THR's 2011 Women In Entertainment Power 100 BreakfastRelated Topics•Women in Entertainment "Every day we have to have a couple laughs," says Berman. "And no assholes allowed." PHOTOS: THR's 2011 Women in Entertainment Power 100 Berman is buoyant as she talks about the privately held company's rapid growth. Wearing a pantsuit in her bright and airy west Los Angeles office, she laughs as she shows off some of the very personal art on her walls, such as a picture of Queen Elizabeth with Berman's head pasted on it that was a gift from comedian Steve Martin; a portrait of Alfred Hitchcock, her favorite filmmaker; and a mounted lightbulb that she says inspires her to have "good ideas." It's Berman's sense of humor, as well as her humanity and humility, that Braun says made him go after her as his partner to create a "21st century media company." "So often you begin to feel people are lying to you," says Braun, former chairman of the ABC Entertainment Group. "There isn't any of that with Gail. She is first and foremost a wonderful human being. When you add on that she is a fantastic businesswoman, has fabulous creative skills and is trustworthy, you know why I feel fortunate to have found her as a partner." COMPLETE LIST: 2011 Women in Entertainment Power 100 Adds Braun: "She's also a hell of a lot of fun to be with. You're going to have bad days, shit happens. When you have somebody down the hall who you can sit with and laugh, it makes all the difference." Under Berman's watch, BermanBraun has cultivated three thriving divisions: TV, digital and features. In scripted TV, they have Alphas on Syfy, just picked up for a second season; the Brad Meltzer unscripted Decoded for History Channel, entering its second season; Swords, in its third season on Discovery; Junk Gypsies in production for HGTV; and the Jenny Bicks pilot Modern Love, being developed for Lifetime. (They have a first-look deal at NBC, where they are developing both comedy and drama pilots.) On the features side, upcoming projects include Ben Stiller's Rent-a-Ghost with Fox and Men Are From Mars, Women Are From Venus for Summit. But it's in new media that BermanBraun has scored with sites like Wonderwall, the primary celebrity destination on MSN, and Glo for women, created with MSN and Hachette Filipacchi Media, which draws more than 5 million unique visitors a month, according to ComScore. Braun says they expect to have 10 sites by the end of next year, which they divide according to their areas of expertise. On Glo, Braun defers to Berman. "Gail knows that area better than I do," he explains. "She spends far more time making sure the editorial voice remains true and consistent. I'm capable of doing it, but I know she's going to be better at it than I am." VIDEO: THR's Women in Entertainment Power 100 Breakfast Highlight Reel Before the current phase of her professional life, Berman, 55, already had a stellar reputation. When Jennifer Salke, now president of NBC Entertainment, was at Fox Broadcasting, she watched as Berman took the network from fourth to first place during her five-year tenure. She recalls Berman as a "great leader" but not the typical executive. "It was common to see her walking down the hall with no shoes on with a megaphone calling out to everyone, 'Come on, what's going on out here? What's everybody excited about? We should be celebrating this!' " says Salke. "She was just great about rallying the troops and getting people motivated and excited to work for her." Now Salke is enjoying working with Berman at NBC, where the two have partnered on such projects as the comedy Apocalipstick (being done with Universal TV) and the drama Masters and Apprentice. "Talented people are incredibly loyal to her," Salke says. "She has deep ties with the writing, producing and acting community because she really knows her stuff. She's also very strong and direct, but not a bitch. It's a rare combination." Berman began her career from a rare vantage point. The daughter of an insurance executive and a housewife, she graduated with a degree in theater from the University of Maryland in 1978 and got her start in show business producing a live stage version of Joseph and the Amazing Technicolor Dreamcoat in Baltimore (later taking it to Broadway, where she produced several other shows) before working for Comedy Central. She'd met her husband of 31 years, comedy writer and producer Bill Masters, in school, and when he got a movie deal a decade later (his credits include Seinfeld and Murphy Brown), they moved to Hollywood with their twin children, a boy and a girl, now in college. She joined Sandollar Productions (owned by producer Sandy Gallin and Dolly Parton), which launched the Fox hit Buffy the Vampire Slayer, a series she went on to produce. That was where Peter Chernin recruited her to start a TV division for a joint venture of New Regency and Fox, where she created such hits as Fox's Malcolm in the Middle. That success led her to Fox, where as the network's first female president she launched juggernauts like American Idol and 24. "She pushed people to get out of their comfort zones," says Salke. "In that way she was very inspiring to a lot of young executives." Nina Tassler, CBS president and her longtime friend, met Berman when they worked on a pilot for Regency in 2000. Tassler adds another layer to Berman's appeal: "Gail has always listened to her inner voice," Tassler says. "She has exquisite taste and great instincts." When Berman left Fox to become president of the movie division at Paramount in 2005, those instincts told her she wasn't in the right place. She never adjusted to the corporate life and was out as part of a studio restructuring after 18 months (with two years left on her contract). Her gut told her she wanted to be entrepreneurial without the pressure of a big corporation. "You have to be self-motivated to do this," adds Berman. "And Lloyd is a wonderful partner. I don't know that I would feel so great about it if I were doing this alone." Also: "I never wake up with that feeling in the pit in my stomach. That's a positive sign." PHOTO GALLERY: View Gallery THR's 2011 Women in Entertainment Breakfast Highlights Related Topics Women in Entertainment 2011 Gail Berman

REVIEW: Gary Oldman Sneaks Off with One of the Year's Great Performances in Tinker, Tailor, Soldier, Spy

Some movies come directly to you, begging for your attention if not demanding it outright. And other movies sit still and quiet even as they hold out a hand, beckoning you closer until you’ve been drawn in almost in spite of yourself. Tomas Alfredson’s Tinker Tailor, Soldier, Spy, an adaptation of John Le Carr’s 1974 novel, is the latter type. The picture is so meticulously constructed — like an elaborate mechanical watchwork — that details can slip past you if you’re not paying careful attention. I’ve seen the movie twice now, and at the second screening I attended, the guy next to me groused that it was certain to flop — there’s no way, he said, that modern audiences would be able to follow it. But the movie’s intricacy, and the way it finds its way into the emotional lives of its characters via (and not in spite of) that intricacy, is what makes it extraordinary. Tinker, Tailor, Soldier, Spy challenges audiences to believe in craftsmanship again. The film opens with a directive, and a botched mission. The story is set in 1973, largely in a dismal and businesslike-looking England that’s doing its damnedest to fight off the chill of the Cold War. John Hurt, as Control, the head of the Circus — a.k.a. MI6 — sends an operative, Jim Prideaux (Mark Strong), to Budapest as part of an attempt to uncover a mole who, Control is convinced, has burrowed deep into the organization. The mission goes bust; Prideaux is shot. Control is forced out of the Circus, and dies shortly thereafter; his second-in-command, George Smiley (Gary Oldman), is also pushed out of the organization. But the government doesn’t like the idea of a mole nibbling away at domestic secrets any more than Control did, and so a pompous undersecretary (played by Simon McBurney) secretly rehires Smiley to track and identify the traitor. What follows qualifies, undeniably, as the most complicated plot of 2011. But even if it loses you — and here and there, it just might, though a second viewing of the picture reinforces how airtight it really is — it’s easy enough to key into the emotional context of each of its nested backstories-within-backstories. Alfredson — director of the 2008 Swedish surprise hit Let the Right One In — allows each of the story’s numerous characters to emerge gradually but distinctly, as if out of fog, into a fully formed human being with certain motivations and heartbreaks. The uniformly terrific ensemble cast includes Colin Firth, Tobey Jones, Ciarn Hinds and Tom Hardy, but even among this stellar group, a few performers stand out. Benedict Cumberbatch — in addition to having one of the most awesome names among British actors — has built a sturdy career playing supporting roles, though he’s mostly been relegated to officious head-boy types. Here, as junior agent Peter Guillam, he steps away from that restrictive box and becomes expressive in a way he hasn’t been before — Guillam is the kind of character who sees and processes everything, even though he says very little, and Cumberbatch navigates those subtle turns with wit and sensitivity. Kathy Burke is wonderful in a small role as the Circus’ resident mother hen: At one point she gazes at photographs of the young agents she’s helped shepherd through the ranks and warbles affectionately, “All my boys, all my lovely boys.” And Strong is wonderful as Prideaux, the agent who’s perhaps the most harshly tested of all; he plays the character’s desolation and determination as two sides of the same coin. In addition to being based on an enormously popular book — Bridget O’Connor and Peter Straughan have deftly condensed and simplified Le Carr’s elaborate, labyrinthine novel — Alfredson’s picture is also haunted by a ghost: The 1979 TV mini-series, which featured Alec Guinness in the George Smiley role. Who’d want to try to top that? The key to Oldman’s performance is that he’s not trying to top anyone, not even himself. In the late ’80s and early ’90s, Oldman built a career out of playing brash roles — in pictures like Sid and Nancy, JFK and True Romance — layered with so much acting that you could barely discern a character beneath. But in recent years, he’s shown a more delicate touch; no longer having to be the over-the-top kid, the flashiest performer in the room, has agreed with him. In Tinker, Tailor, Oldman’s Smiley is a man who’s not just in danger of losing everything he loves; he could lose everything he stands for, which is worse. In one scene he describes to a younger agent how, years ago, he urged a Russian operative — one who would later become a top spymaster for the other team — to come to the West. Smiley frames the argument in terms of the man’s wife, suggesting that he could make her life better and more anxiety-free. He re-enacts the moment, speaking to an empty chair, as it becomes clear that it’s his own estranged wife who’s foremost in his thoughts. Oldman is remarkable here for how little he does, for how little he has to do; his performance is one of serene intensity. Smiley’s dignity, borne of experience and of making lots and lots of mistakes, is less something you can see than something you can feel. Oldman wears his character’s regrets lightly, like a bespoke jacket, a state of being made just for him. It’s a remarkable performance, one of the finest of the year. Tinker, Tailor, Soldier, Spy feels both old-fashioned and modern at once. Even though it lives squarely in the moment, it could have been made in the ’70s, for the way it so wholly trusts its audience to keep up with every minute, nearly imperceptible plot turn. It’s like an action movie constructed from glances, suggestions and suppressed sighs rather than gunplay. The picture’s lovely, understated score (by Alberto Iglesias), with its whispering strings and muted trumpets, perfectly suits the movie’s palette of soft mauves and grays. Even the cinematography and production design, by Hoyte Van Hoytema and Maria Djurkovic respectively, speak in a secretive whisper: The movie is rendered in the colors of smoke, though its contours are solid and shapely, a universe of pedestrian office desks, ugly telephones and overflowing ashtrays — aesthetically, this 1970s England probably isn’t as dismal as the Eastern Bloc, but it might be pretty close. Yet even in the midst of all those wonderfully mundane trappings, there are touches that seem outright exuberant — like the orange baffling lining the walls of the central meeting room of the Circus. It’s unintentionally groovy, almost cheerful, and it works beautifully as a setup for one of the most exhilarating final shots of the year. It’s fitting that Tinker, Tailor, Soldier, Spy ends with a beginning of sorts, a first-day-of-school sense of hopefulness. It’s a promise of what movies can be when filmmakers treat us like grown-ups. [Editor’s note: Portions of this review appeared earlier, in a different form, in Stephanie Zacharek’s Venice Film Festival coverage.] Follow Stephanie Zacharek on Twitter. Follow Movieline on Twitter.

Fate of internet rests on Dodgers

The survival from the entire cable funnel effectively depends round the disposition of future TV rights in the La Dodgers, reflecting how abruptly sports TV fortunes can move up and lower. When 2011 began, the most effective two sports franchises in La, the Dodgers as well as the Opponents, were quietly clicking off another year with Fox Sports their primary cable home. With 2012 beckoning, the Opponents are actually pried away by Time Warner Cable, and Fox is at suit to preserve its hold on the Dodgers. The stakes are high for media leaders. Time Warner is pressurized to produce lucrative its multibillion-dollar persistence for British- and also the the spanish language language-language systems devoted for the Opponents -- keeping people systems thriving through the nice cozy-weather several days without regular-season Basketball games -- while Fox may need to collapse among its two La-centric sports cable channels (either Fox Sports West or Prime Ticket) whether or not this handles to get rid of the Dodgers. "There's without doubt, because essentially (Fox might be) left for the Angels and hockey and lesser characteristics," Sports Business Journal baseball and digital media author Eric Fisher mentioned. "The legal papers have formerly suggested consequently that Prime Ticket's future is obviously threatened." Should Fox Sports West and Prime Ticket be consolidated into one network, the revenue loss to Fox might be inside the hundreds of millions. "Essentially you aren't just losing the advertising, but you're losing a couple of from the carriage costs too,Inch Fisher mentioned. Further further complicating matters in your town is an additional 2011 development: the Off-shoreline 12 Conference's bold plan to debut a unique quantity of proprietary systems in August 2012, which will pry still more content from Fox Sports. Time Warner also developed a significant, although smaller sized-stakes, raid on Fox Sports content by inking a deal in November for 10 years' cost of TV rights for the Major League Soccer champion La World beginning next season. Fox Sports keeps rights to MLB's Angels, the NBA's Clippers as well as the NHL's Nobleman and Ducks, nevertheless the stability of disbursing them over two channels is fixed -- particularly using the Angels since the only summer time season attraction. "Thinking about the truth that Time Warner will get the World and there's some a summer season foothold, I'd say Fox and Prime Ticket will be the more desperate party (for your Dodgers)," Fisher mentioned. Whoever can get dibs round the Dodgers pays greatly for your privilege. Due to growing values, the Dodgers figure to cost their next TV home no less than $150 million every year, possibly much more once the investing in an offer will get warmer. The Lakers' 20-year deal with Time Warner is believed being worth roughly $200 million every year. The Dodgers' linchpin role for La cable systems is not new. When Fox acquired the Dodgers within the O'Malley family in 1998, it absolutely was with tabs on obtaining a focus that could launch that second all-sports cable network in La and forestall ESPN from entering the territory. Theoretically, Fox's hold on the Dodgers shouldn't presently maintain risk. Their current deal runs through 2013, getting a clause that through November gives Fox exclusive settling rights with a publish-'13 extension, including an chance to complement competing offers. Nevertheless the ongoing legal drama surrounding outgoing Dodger owner Frank McCourt has put Fox's exclusivity round the ropes. While using Dodgers still in personal personal bankruptcy court since their filing in June, lawyers for McCourt have requested permission to right away open purchasing future media rights to all or any comers to have the ability to maximize value for creditors. Settlement talks are happening, getting a hearing round the matter scheduled for later this month. Mere several days ago, before becoming legal combatants, Fox and McCourt were allies. The media giant, which aided finance McCourt's highly utilized purchase of the Dodgers in 2004 and undoubtedly was searching to bolster his dependence, made a personal unsecured loan in April for the McCourt to help keep his embattled possession dreams alive. Two several days later, a June deal between Fox and McCourt to improve Dodger broadcasting rights through 2030 was rejected by Mlb commissioner Bud Selig round the theory it offered the extended-term way ahead for the Dodgers. If Fox does comes away while using Dodgers for your extended-term future, Fisher thought, "You may have a predicament where Prime Ticket can get amalgamated to more front-and-center Dodger branding." Contact Jon Weisman at jon.weisman@variety.com

Barbara Underwood & Jason Aldean Top American Country Honours

First Launched: December 6, 2011 10:56 AM EST Credit: Getty Premium -- Caption Barbara Underwood reaches the American Country Honours 2011 within the MGM Grand Garden Arena in Las vegas on December 5, 2011The American Country Honours were Jason Aldeans kinda party. Country musics latest celebrity won six honours Monday in Las vegas, like the nights top honors artist of year and record of year for My Kinda Party. It is a fact, 2010 is really a non-stop party for Aldean. More than millions of fans switched out for his arena tour, his platinum album has produced four hits up to now as well as the honours are starting to compare after a period to become overlooked. That is acquiring just a little absurd now, Aldean mentioned on his second visit to the stage. I've no clue what else to convey. It's been an outrageous year. Barbara Underwoods fans came through on her behalf again within the fan-selected honours yearly after she was the most effective champion round the inaugural show with six trophies. She acquired three honours this year, including female artist of year and feminine single of year for Mamas Song. Everybody election constantly, Underwood mentioned throughout her second trip to the stage. Not remarkably, the shows focus was mainly on country musics emerging stars. Thompson Square also won three trophies blue Fender Telecasters by getting an embossed silhouette in the U.S. The husband-and-wife duo of Shawna and Kiefer Thompson rode their breakthrough single Are you going to Hug Me Or Else? to group single, new artist single and new artist video of year honours. Thisis the first time weve won anything, and so do persistence, Kiefer Thompson joked. Chris Youthful won two honours, breakthrough artist and single of year for Voices, 'American Idol champion Scotty McCreery was named new artist of year and Lady Antebellum won another straight group of year. With the nights top two honors, Aldean also was named touring artist of year and won male single of year for My Kinda Party and vocal collaboration single of year for Dont You Wanna Stay with Kelly Clarkson. Alabama won a Finest Hits Award and Toby Keith was named artist in the decade since the most-carried out country star on radio within the last 10 years. Blake Shelton won video of year for That are You When I'm Not Searching. He devoted the win to his father, Dick, who influences hospital with pneumonia. He then came out to tear up within the finish of his performance of God Provided You. If only to express hi to my dad home, Shelton mentioned. Hes been getting a significant rough number of days. I realize hes watching back fitness center I like you, father, and also dedicate this for you personally. Copyright 2011 with the Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Tyra Banks to Ray King: My Top Model Persona Is not Me

Dinner while using Nobleman Tyra Banks states her America's Next Top Model persona is much removed who she's really. Featured on Ray King's CNN special Dinner While using Nobleman, the supermodel mentioned: "When I'm a slave to and possess all this makeup on and i'm like, 'Your picture is not fierce,' this is a personality. In solid existence I'm passive aggressive, I'm anti-confrontational, I'm during training to understand to become confrontational."Other stars who grew to become part of Banks within the dinner, which broadcast on CNN Sunday were Conan O'Brien, Seth MacFarlane, Shaquille O'Neal, Twitter Boss Jack Dorsey, Quincy Manley and Russell Brand. Watch a clip of Banks: Ray King Special: A Night Time Meal with Nobleman will re-air Saturday, 12 ,. 10 at 8/7c and 10/9c on CNN.

Pols float another anti-piracy plan

Experts of anti-piracy legislation pending in Congress have offered an alternate intend to use trade laws and regulations to combat rampant online violation overseas. The proposal, revealed Friday, would enable a copyright holder -- just like a studio or record label -- to petition the Intl. Trade Commission to produce an analysis. The ITC could then problem a cease-and-desist order against an overseas website that delivers unauthorized digital content or facilitates the importation of counterfeit goods. An order would not compel payment processors and ad services to prevent offering support towards the sites. The ITC also will have to discover that the foreign website is "mainly" and "willfully" participating in violation of U.S. copyrights. The proposal was written by Sen. Ron Wyden (D-Or), Sen. Maria Cantwell (D-Clean.), Sen. Mark Warner (D-Veterans administration.) and Sen. Jerry Moran (R-Kansas), in addition to Repetition. Jason Chaffetz (R-Utah), Repetition. John Campbell (R-Calif.), Repetition. Lloyd Doggett (D-Texas), Repetition. Anna Eshoo (D-Calif.), Repetition. Zoe Lofgren (D-Calif.) and Repetition. Jared Polis (D-Colo.). The congress oppose the Stop Online Piracy Act in the home and sister legislation within the Senate, the Safeguard IP Act, each of which are targeted at curbing so-known as rogue websites that operate overseas. Experts have stated the bills are written too broadly and may do injury to the technical infrastructure from the Internet as well as threaten freedom of expression and innovation. The congress from the alternate plan stated within their proposal that "by putting the regulating energy at the disposal of the Worldwide Trade Commission -- versus. a diversity of justice of the peace idol judges not experienced in Internet and trade policy -- will make sure a transparent process by which import policy is rather and consistently applied and all sorts of interests taken into consideration.Inch They noted their proposal would basically be stretching methods the ITC already utilizes. "The general public could be informed from the analysis and participants might have the right to become heard, along with other your customers,Inch they stated inside a statement. "Final ITC determinations might be become a huge hit in U.S. court." The most recent proposal would not provide the ITC the energy to problem expedited cease-and-desist orders if emergency is shown, as well as would prescribe sanctions for individuals who attempt to abuse the machine. The ITC would not possess the energy to problem temporary and preliminary cease-and-desist orders. Organizations that adhere to the ITC orders could be given "appropriate immunity," the proposal mentioned. The Stop Online Piracy Act has got the backing of House Judiciary Committee chairman Lamar Cruz (R-Texas) and it is scheduled arrive at a election on 12 ,. 15. A Home Judiciary Committee aide stated the proposal to transfer jurisdiction of enforcement towards the ITC "will be a dramatic and pricey growth of the government paperwork." The aide also noted the proposal omits language that "would require search engines like google, like Google, to bar the 'importation' of the connect to an overseas rogue website," which may safeguard "ale crooks to carry on to take advantage of search engines like google to advertise the thievery of yankee intellectual property." The aide also noted the ranking person in the Senate Finance Committee, Sen. Orrin Hatch (R-Utah), is really a sponsor from the Safeguard IP Act, which there's "no indication" the Finance or Ways & Means committees would advance the legislation. Contact Ted Manley at ted.manley@variety.com

Trio Of Agents Leaving CAA

BREAKING: CAA agents Mike Nilon, Jessica Matthews and Shari Smiley are leaving the agency. Nilon is in the feature talent department, Matthews is feature lit, and Smiley was part of the book department. They follow by days the exit of Rand Holston. There has been a flurry of conjecture today about the imminent exit of a number of agents. CAA insiders denied those names are involved. The list is limited to the above three agents. No word yet on where Nilon, Matthews and Smiley will go. Holston is in talks with several agencies.

Marley Shelton Is Pregnant!

Marley Shelton Marley Shelton and husband Beau Flynn are expecting their second child, People reports. Check out the rest of today's news Shelton, 37, who recently co-starred in Scream 4, and Flynn, a movie producer, will welcome their second child in the spring. "[We] couldn't be more excited," the pair told the magazine. The couple, who wed in 2011, have a 2-year-old daughter named West.

Unions Reject Blame for Cleaning soap Deal's Dying

It appears like there won't be any second existence for that lengthy-running cleaning soap operas My Children and something Existence to reside. Inside a pointed statement launched Wednesday, professionals Wealthy Frank and Shaun Kwatinetz of the organization Prospect Park introduced that it is intend to turn Basic steps two canceled daytime dramas into Web series had fallen through. The failure was blamed simply on unions representing the series' talent.In the end simplified in on the financial infrastructure, the contractual demands from the guilds, which regulate our industry, combined using the programs' natural economic challenges ultimately brought for this ultimate decision, Frank and Kwatinetz stated.One of the unions that were settling with Prospect Park were the American Federation of Television and Radio Artists and also the Authors Guild of America West. Both released quick reactions Wednesday towards the companys assertion that labor demands were at fault for that plans demise.AFTRA, which signifies stars on shows, noted inside a written statement, Despite initial progress within our discussions with Prospect Park toward solving a reasonable agreement to pay for the entertainers showing up on these programs, i was perplexed and disappointed that within the last month Prospect Park hasn't taken care of immediately our repeated queries to resume individuals discussions. The union also stated it thought that Prospect Park faced other challenges unrelated to the discussions.In the statement, the WGAW stated, I was disappointed to understand that Prospect Parks financing fell through. Just before the finish of a week ago, i was near to a good deal for that authors.The ultimate episode of The Kids broadcast Sept. 23 on ABC. The One Existence to reside finale will air Jan. 13, 2012. By Daniel Holloway November 28, 2011 It appears like there won't be any second existence for that lengthy-running cleaning soap operas My Children and something Existence to reside. Inside a pointed statement launched Wednesday, professionals Wealthy Frank and Shaun Kwatinetz of the organization Prospect Park introduced that it is intend to turn Basic steps two canceled daytime dramas into Web series had fallen through. The failure was blamed simply on unions representing the series' talent.In the end simplified in on the financial infrastructure, the contractual demands from the guilds, which regulate our industry, combined using the programs' natural economic challenges ultimately brought for this ultimate decision, Frank and Kwatinetz stated.One of the unions that were settling with Prospect Park were the American Federation of Television and Radio Artists and also the Authors Guild of America West. Both released quick reactions Wednesday towards the companys assertion that labor demands were to blame for that plans demise.AFTRA, which signifies stars on shows, noted inside a written statement, Despite initial progress within our discussions with Prospect Park toward solving a reasonable agreement to pay for the entertainers showing up on these programs, i was perplexed and disappointed that within the last month Prospect Park hasn't taken care of immediately our repeated queries to resume individuals discussions. The union also stated it thought that Prospect Park faced other challenges unrelated to the discussions.In the statement, the WGAW stated, I was disappointed to understand that Prospect Parks financing fell through. Just before the finish of a week ago, i was near to a good deal for that authors.The ultimate episode of The Kids broadcast Sept. 23 on ABC. The Main One Existence to reside finale will air Jan. 13, 2012.

Wilson Phillips Capitalizes on Great Year with New TV Guide Special

Wilson Phillips For a band whose last hit charted more than 20 years ago, Wilson Phillips has had quite a year. The band figured largely in the plot of this summer's box office blockbuster movie Bridesmaids. Band member Chynna Phillips earned a small but devoted fan base on Dancing with the Stars this season. And now the trio is getting its own TV special. Carnie Wilson, her sister Wendy and Phillips are hoping to build on their recent momentum with a new album, the creation of which will be documented on Wilson Phillips: Still Holding On (Sunday, 9/8c, TV Guide Network). "It's a way for people to see how the dynamic between the three of us really works, rather than a sit-down interview where we're answering specific questions about our childhood or our parents or any of that [stuff] we're used to talking about," Carnie says. "[Bridesmaids] put our name back on the map," Wendy Wilson tells TVGuide.com. "A lot of younger people love the movie -- I don't even know if they knew who we were back in the day, let alone being born then - and it's a resurgence of the music and, in a way, a part of pop culture now." Their new album is a collection of cover versions of songs made famous by their famous parents, The Beach Boys' Brian Wilson and John and Michelle Phillips of the Mamas and the Papas. "[The process] is emotionally charged," Chynna says. "You have such big shoes to fill. You want to do a great job and you know so many people are going to be comparing your version to your parents' version. You just have let go of expectations and people's expectations and say, 'We're going to sing from our hearts, put our Wilson Phillips signature on it, and it's going to turn out the way it's going to turn out." Viewers can expect to see some arguing among these three lifelong friends along the way. "It's not like: We've been friends forever; everything is great," Carnie says. "It's more like: 'You're in a bad mood; you're flaky,' and it's all real. I'm excited and also scared for people to see that yet," Chynna says. "We fight like sisters and we have our disagreements and have to battle through that like any other relationship. I think people will identify with that and I'm glad they'll will get a window into what it's really like to be in a group and to know someone for 43 years." Wilson Phillips: Still Holding On airs Sunday at 9/8c on TV Guide Network. Watch a preview below: "Wilson Phillips: Still Holding On" by TVGuide

The Greening of Whitney Brown

An Arc Entertainment release of a Perfect Weekend production. Produced by Justin Moore-Lewy, Charlie Mason. Executive producers, Ed Fitts, Sue Rathbone. Co-producer, Rachel Harrell. Directed by Peter Odiorne. Screenplay, Gail Gilchriest.With: Sammi Hanratty, Aidan Quinn, Brooke Shields, Kris Kristofferson, Anna Colwell, Charlotte K. Matthews, Keith David, Slade Pearce, Natalia D. Dyer, India Scandrick, Odd Job Bob.The economic downturn proves a blessing in disguise for a spoiled urban tween in"The Greening of Whitney Brown," the tale of a girl and the horse that loved her. When Whitney's father loses his high-paying job in the city, the family relocates to an abandoned farm in the country. Written by Gail Gilchriest, who adapted "My Dog Skip" to the screen, and directed by newcomer Peter Odiorne, this simplistic story of bucolic redemption has few pretensions to depth, ambiguity or realism, relying on its name cast, sprightly lead and a helluva horse to attract family auds on its Nov. 11 bow. Whitney (Sammi Hanratty) reigns at an exclusive Philadelphia school, as evidenced by her landslide election as class president and her snagging the dreamy new kid in town (Slade Pearce) as her prom date. Her sudden move to the boondocks with no cell-phone reception cuts her off from her adoring public, except through sporadic pay-phone calls to a double-dealing BFF (Charlotte K. Matthews). As in countless Hollywood kidpics, the city girl finds new meaning by working with a horse, though here no racing glory is involved, since the equine in question, Bob, is a black-and-white Gypsy Vanner and thus small, adorable and more attuned to humans than Lassie. Bob is always up for rural transportation, assorted tricks, approving nudges, disapproving snorts and dramatic, revenge-dealing appearances at formal occasions. With no friends her own age, Whitney is free to bond more closely with Mom (Brooke Shields), who turns out to be eminently suitable to the homesteader lifestyle, breathing deeply of the fresh air, contentedly perambulating in the picturesque fields and whipping up batches of blackberry preserve to sell by the roadside for profit. Dad (Aidan Quinn), dealing with childhood demons, proves more recalcitrant: Not until Whitney helps him reconcile with his crusty estranged father (Kris Kristofferson) can he finally reconnect with his inner-farmboy. Thesping is predictably pro, Kristofferson bringing a rangy authenticity to the proceedings, his taciturn self-reliance contrasting with Quinn's introverted vulnerability. Hanratty's unquenchable perkiness, though well integrated into her can-do persona, grows wearisome at times. Helmer Odiorne creates a suitably groomed pastoral setting for Gilchriest's relentlessly upbeat script, but does little to suggest a context larger than Whitney's limited p.o.v.Camera (color), James L. Carter; editor, Martin Hunter; music, Randy Edelman; music supervisor, Michael Lloyd; production designer, Caroline Hanania; art director, Christopher Tandon; sound (Dolby Digital), Jim Emswiller; supervising sound editor, Kelly Cabral; horse trainer/stunt coordinator, Tommie Turvey; casting, Kerry Barden, Paul Schnee. Reviewed on DVD, NY, Nov. 8, 2011. MPAA rating: PG. Running time: 87 MIN. Contact the Variety newsroom at news@variety.com

Michael Emerson Took a Long Time to get Where He is Today

Michael Emerson Took a Long Time to get Where He is Today By Daniel Holloway November 9, 2011 Photo by Sebastian Piras Michael Emerson Michael Emerson is sitting in Trattoria Dopo Teatro, an Italian joint tucked between Broadway and the Stephen Sondheim Theatre on 44th Street, nursing a glass of water while his manager and twotwo!publicists eat a schmancy pizza a few tables away. It took him a long time to get here. Not to "here" as in the restaurant but "here" in the metaphysical sensebig city, big career, big group of 10 percenters structuring their days around his interviews and photo shoots. For an actor who waited until he was nearly 40 to go to conservatory, it's not a bad place to be. Not that he didn't want to get here sooner. Emerson has been feted on the NY stage, has become recognizable to millions as a fan-favorite villain on "Lost," and is now the co-lead in his own new show, CBS's "Person of Interest." But decades ago he was a 21-year-old kid from small-town Iowa who came to NY wanting to be an actor. Things went badly. "The city just knocked the wind out of me," he says, his voice eerily, inevitably calling to mind Benjamin Linus, the character he played for five seasons on "Lost." "I didn't know where the auditions were or how you got into them or anything like that. So I lost track of my dream, which is a bad thing to do."It certainly is. And if you've ever been to Jacksonville, Fla., you know that moving there is usually a bad thing to do, too. Emerson did it anyway, and it turned out to be the first step on a long road to success. Not that it seemed like it at the time. Emerson was working as a magazine illustrator until "that career sort of went up in flames, and I thought, 'Well, here I am. There's nowhere to go but up, and I might as well do what I please, since I was at the bottom of things.' " He started doing community theaternot just acting but also designing scenery, building sets, and directing. He was able to make "half of a sensible person's living" as a jack-of-all-trades in the local scene. If there was a role he wanted to play, he would mount the production. "A lot of times I would sleep in the theater at night, just trying to keep body and soul together," he says. "But it was a good apprenticeship in the theater. I found out I had a knack for it, and I grew in confidence."Eventually he branched out, working a circuit of regional theaters in the Southeast. He played the Arkansas Repertory Theatre in Little Rock and New Stage Theatre in Jackson, Miss. He traveled to Montgomery, Ala.; Chattanooga, Tenn.; and Savannah, Ga. And he grew as an actor. "I reached a point where I thought, 'I'm too good at this now to keep doing obscure plays in obscure towns,' " he says. "I either needed to go back to NY or I needed to get into a conservatory program. I chose the latter."Roll Tide Emerson enrolled in the Alabama Shakespeare Festival's MFA program at the University of Alabama. He was 39 and looking to check out of the world for a couple of years, lead "a sort of monastic experience," and focus on acting. "I guess I would have said then that I meant to commit my life to playing the classics, which isn't a bad commitment to make," he says. "It's taken me a lot of different places."The Alabama program focused, unsurprisingly, on Shakespeare and classical verse. In the mornings, Emerson and his classmates would study movement, voice, and text. In the afternoons, they had rehearsals. Occasionally students would be cast in small parts on ASF's main stage. Emerson was something of an anomaly, being middle-aged and having years of experience under his belt. The same qualities that made him stick out from his peers also made him a commodity for the main-stage productions. "I was useful," he says.Alabama proved useful to him as welland not just for the training he received. He met his wife, the actor Carrie Preston, while working in an ASF production of "Hamlet." After he graduated, he followed her back to NY. His second run in NY didn't start off much more auspiciously than his first. His training had sharpened his skills, and he had a wealth of experience performing in some of the greatest plays ever written. But his rsum was filled with names that no one in the city had ever heard ofSouthern names."I thought surely, for the love of God, someone wants a grown man who can speak the verse, just to carry a spear, or deliver a message, or something," Emerson says. "But it's not as easy as that. I still had some illusions about that kind of thing." Preston, in contrast, was working steadily, having already established herself in NY. (She has, like her husband, built a strong on-camera career; she is now best known for playing the high-strung waitress Arlene on HBO's "True Blood.") Emerson knew that if she continued to book work while he foundered, they would feel the resulting pressure. He gave himself two years to catch traction in NY, after which he would return to the South, where he still had contacts in the theater community. He and Preston would manage a long-distance relationship.Then, shortly before the two years were up, Emerson became involved in playwright Moiss Kaufman's "Gross Indecency: The Three Trials of Oscar Wilde," then still nascent. The play draws on the three real-life courtroom trials concerning Wilde's relationship with his lover Lord Alfred Douglas. In readings and workshops, Emerson played Wilde's attorney. But just before the play was set to open Off-Off-Broadway, Kaufman fired the lead actor. Emerson asked if he could audition for the roleand won it. He had fewer than three weeks to prepare.Emerson drew on his training at Alabama, where instructors had drilled into him the importance of making not just psychological choices but also choices about the carriage of the body, the quality of the voice that a character lives in. He felt he had watched the previous Wilde make choices that were logical but ultimately incorrect. Emerson knew he could make better ones.In his review of "Gross Indecency" for the NY Times, Ben Brantley, who called the play "the must-see sleeper of the Off Off Broadway season," wrote, "[T]he Wilde of Mr. Emerson, making his NY debut, is stunning as he progresses from epigrammatic assurance to a public role for which he is no longer writing the script. By the production's end, he is majestically pathetic, a man who is still unable to understand completely what happened to him."The play was a hit and enjoyed an Off-Broadway run and stints in San Francisco and Los Angelesall with Emerson in the lead. "We got a good review in the NY Times, and we were off to the races," Emerson said. "I guess I have made my living as an actor since that time."Act 2 Over the next few years, Emerson appeared in enough impressive plays to make him a bona fide NY theater actorincluding Broadway productions of "The Iceman Cometh" and "Hedda Gabler," as well as "Le Misanthrope" and "Give Me Your Answer, Do!" Off-Broadway. In 2000, he booked a part on ABC's "The Practice," playing a man who confesses to being a serial killer but whose guilt is in doubt. The role recurred, and Emerson won an Emmy for outstanding guest actor. When Emerson's life-changing job came, it didn't at first look like that kind of role. He was not a loyal viewer of "Lost," but his wife was. "We always had it on," he says. "Sometimes I'd be doing the dishes or something, and I'd look over and go, 'Oh, that's preposterous.' "The part of Benjamin Linusthe villain who became one of the series' definitive characterscame to Emerson as an offer. It was initially a guest spot. The story line called for a meek-tempered man to be captured and held prisoner by the suspicious island castaways around whom the show was centered. Eventually, the character was revealed to be the leader of the Others, the mysterious group that terrorized the show's heroes for most of its run. Between filming sessions in those earlier days, Emerson would cool his heels in a hotel in Hawaii, where the series was shot, missing Preston and NY, and waiting to find out whether his character would survive to the next episode. Around the time of his fourth episode, Emerson realized something big might be happening."One day a director came to me and said, 'When you talk about the leader of the Others, he must be terrifying to you,' " Emerson says. "I said, 'Okay, that's cool. I can play that. But wouldn't it be a gas if it turned out that I was the leader of the Others?' And he said, 'I can't talk about that.' I thought, 'Are you kidding me? Is that where we're going to go? Because that could be fun.' "For "Lost" fans, it certainly was, and Emerson's career reaped the benefits. He won a second Emmy in 2009, this time for outstanding supporting actor. But he always kept one eye eastward."I never stopped being the gypsy actor in my mind," he says. "I would never buy property in Hawaii or get settled too comfortably, because that just seems to invite the theater gods to pull it out from under you. I always thought of it as temporary. It was never home to me."Home was still NY, and Emerson settled back there after "Lost" ended in 2010. His first thought was to lay low for a time, knowing that whatever his next project was, it would be overscrutinized, thanks to the hype generated by his last job. He figured that a theater project would arise and spark his interest, and he tinkered with a pilot idea that he and "Lost" co-star Terry O'Quinn had developed. But the right play never came, and the pilot never matured into script form.Emerson spent close to a year out of work. With pilot season nearing, he approached Bad Robot, the company that had produced "Lost," and asked if there was anything he might be suited for. "They had this nice script at Bad Robot that I liked for a lot of reasonsnot least of which was that it was set in and had to shoot in NY City," he says. "If you start looking around at pilots, you dig deep and you find that not very many of them will be shot in NY or L.A. I had already done my time on the other side of the earth. It was important to me to have a family life again."The script was for "Person of Interest," in which Emerson stars as Harold Finch, an eccentric billionaire and tech genius who has developed a machine that anticipates terrorist acts. Jim Caviezel co-stars as an exCIA agent who, with Finch's voice in his ear, tries to stop those events before they happen. The character has been compared to Benjamin Linus, and Emerson admits that there are similarities. But the actor is comfortable with the overlapwhich is good, because the show has proved a solid ratings draw and recently received a full-season commitment from CBS."Maybe Ben Linus worked so well for me because it tapped into some core aesthetic I have as an actor," Emerson says. "I prefer mystery over obviousness. I prefer ambiguity to definition. And the only way I'm ever going to be able to put that aside is to do a completely different kind of material, probably on the stage."What type of material? He would love to do Shakespeare in the Parkwhich would bring him back to his roots in the classics at Alabama. Or maybe a comedy. "I was always a funny guy," he says, "before I got these frightening roles." And you know what? Emerson is a funny guy, because after talking to him for an hour, you forget that he sounds exactly like Benjamin Linus. Michael Emerson Took a Long Time to get Where He is Today By Daniel Holloway November 9, 2011 Michael Emerson PHOTO CREDIT Sebastian Piras Michael Emerson is sitting in Trattoria Dopo Teatro, an Italian joint tucked between Broadway and the Stephen Sondheim Theatre on 44th Street, nursing a glass of water while his manager and twotwo!publicists eat a schmancy pizza a few tables away. It took him a long time to get here. Not to "here" as in the restaurant but "here" in the metaphysical sensebig city, big career, big group of 10 percenters structuring their days around his interviews and photo shoots. For an actor who waited until he was nearly 40 to go to conservatory, it's not a bad place to be. Not that he didn't want to get here sooner. Emerson has been feted on the NY stage, has become recognizable to millions as a fan-favorite villain on "Lost," and is now the co-lead in his own new show, CBS's "Person of Interest." But decades ago he was a 21-year-old kid from small-town Iowa who came to NY wanting to be an actor. Things went badly. "The city just knocked the wind out of me," he says, his voice eerily, inevitably calling to mind Benjamin Linus, the character he played for five seasons on "Lost." "I didn't know where the auditions were or how you got into them or anything like that. So I lost track of my dream, which is a bad thing to do."It certainly is. And if you've ever been to Jacksonville, Fla., you know that moving there is usually a bad thing to do, too. Emerson did it anyway, and it turned out to be the first step on a long road to success. Not that it seemed like it at the time. Emerson was working as a magazine illustrator until "that career sort of went up in flames, and I thought, 'Well, here I am. There's nowhere to go but up, and I might as well do what I please, since I was at the bottom of things.' " He started doing community theaternot just acting but also designing scenery, building sets, and directing. He was able to make "half of a sensible person's living" as a jack-of-all-trades in the local scene. If there was a role he wanted to play, he would mount the production. "A lot of times I would sleep in the theater at night, just trying to keep body and soul together," he says. "But it was a good apprenticeship in the theater. I found out I had a knack for it, and I grew in confidence."Eventually he branched out, working a circuit of regional theaters in the Southeast. He played the Arkansas Repertory Theatre in Little Rock and New Stage Theatre in Jackson, Miss. He traveled to Montgomery, Ala.; Chattanooga, Tenn.; and Savannah, Ga. And he grew as an actor. "I reached a point where I thought, 'I'm too good at this now to keep doing obscure plays in obscure towns,' " he says. "I either needed to go back to NY or I needed to get into a conservatory program. I chose the latter."Roll Tide Emerson enrolled in the Alabama Shakespeare Festival's MFA program at the University of Alabama. He was 39 and looking to check out of the world for a couple of years, lead "a sort of monastic experience," and focus on acting. "I guess I would have said then that I meant to commit my life to playing the classics, which isn't a bad commitment to make," he says. "It's taken me a lot of different places."The Alabama program focused, unsurprisingly, on Shakespeare and classical verse. In the mornings, Emerson and his classmates would study movement, voice, and text. In the afternoons, they had rehearsals. Occasionally students would be cast in small parts on ASF's main stage. Emerson was something of an anomaly, being middle-aged and having years of experience under his belt. The same qualities that made him stick out from his peers also made him a commodity for the main-stage productions. "I was useful," he says.Alabama proved useful to him as welland not just for the training he received. He met his wife, the actor Carrie Preston, while working in an ASF production of "Hamlet." After he graduated, he followed her back to New York. His second run in NY didn't start off much more auspiciously than his first. His training had sharpened his skills, and he had a wealth of experience performing in some of the greatest plays ever written. But his rsum was filled with names that no one in the city had ever heard ofSouthern names."I thought surely, for the love of God, someone wants a grown man who can speak the verse, just to carry a spear, or deliver a message, or something," Emerson says. "But it's not as easy as that. I still had some illusions about that kind of thing." Preston, in contrast, was working steadily, having already established herself in NY. (She has, like her husband, built a strong on-camera career; she is now best known for playing the high-strung waitress Arlene on HBO's "True Blood.") Emerson knew that if she continued to book work while he foundered, they would feel the resulting pressure. He gave himself two years to catch traction in New York, after which he would return to the South, where he still had contacts in the theater community. He and Preston would manage a long-distance relationship.Then, shortly before the two years were up, Emerson became involved in playwright Moiss Kaufman's "Gross Indecency: The Three Trials of Oscar Wilde," then still nascent. The play draws on the three real-life courtroom trials concerning Wilde's relationship with his lover Lord Alfred Douglas. In readings and workshops, Emerson played Wilde's attorney. But just before the play was set to open Off-Off-Broadway, Kaufman fired the lead actor. Emerson asked if he could audition for the roleand won it. He had fewer than three weeks to prepare.Emerson drew on his training at Alabama, where instructors had drilled into him the importance of making not just psychological choices but also choices about the carriage of the body, the quality of the voice that a character lives in. He felt he had watched the previous Wilde make choices that were logical but ultimately incorrect. Emerson knew he could make better ones.In his review of "Gross Indecency" for the NY Times, Ben Brantley, who called the play "the must-see sleeper of the Off Off Broadway season," wrote, "[T]he Wilde of Mr. Emerson, making his NY debut, is stunning as he progresses from epigrammatic assurance to a public role for which he is no longer writing the script. By the production's end, he is majestically pathetic, a man who is still unable to understand completely what happened to him."The play was a hit and enjoyed an Off-Broadway run and stints in San Francisco and Los Angelesall with Emerson in the lead. "We got a good review in the NY Times, and we were off to the races," Emerson said. "I guess I have made my living as an actor since that time."Act 2 Over the next few years, Emerson appeared in enough impressive plays to make him a bona fide NY theater actorincluding Broadway productions of "The Iceman Cometh" and "Hedda Gabler," as well as "Le Misanthrope" and "Give Me Your Answer, Do!" Off-Broadway. In 2000, he booked a part on ABC's "The Practice," playing a man who confesses to being a serial killer but whose guilt is in doubt. The role recurred, and Emerson won an Emmy for outstanding guest actor. When Emerson's life-changing job came, it didn't at first look like that kind of role. He was not a loyal viewer of "Lost," but his wife was. "We always had it on," he says. "Sometimes I'd be doing the dishes or something, and I'd look over and go, 'Oh, that's preposterous.' "The part of Benjamin Linusthe villain who became one of the series' definitive characterscame to Emerson as an offer. It was initially a guest spot. The story line called for a meek-tempered man to be captured and held prisoner by the suspicious island castaways around whom the show was centered. Eventually, the character was revealed to be the leader of the Others, the mysterious group that terrorized the show's heroes for most of its run. Between filming sessions in those earlier days, Emerson would cool his heels in a hotel in Hawaii, where the series was shot, missing Preston and NY, and waiting to find out whether his character would survive to the next episode. Around the time of his fourth episode, Emerson realized something big might be happening."One day a director came to me and said, 'When you talk about the leader of the Others, he must be terrifying to you,' " Emerson says. "I said, 'Okay, that's cool. I can play that. But wouldn't it be a gas if it turned out that I was the leader of the Others?' And he said, 'I can't talk about that.' I thought, 'Are you kidding me? Is that where we're going to go? Because that could be fun.' "For "Lost" fans, it certainly was, and Emerson's career reaped the benefits. He won a second Emmy in 2009, this time for outstanding supporting actor. But he always kept one eye eastward."I never stopped being the gypsy actor in my mind," he says. "I would never buy property in Hawaii or get settled too comfortably, because that just seems to invite the theater gods to pull it out from under you. I always thought of it as temporary. It was never home to me."Home was still NY, and Emerson settled back there after "Lost" ended in 2010. His first thought was to lay low for a time, knowing that whatever his next project was, it would be overscrutinized, thanks to the hype generated by his last job. He figured that a theater project would arise and spark his interest, and he tinkered with a pilot idea that he and "Lost" co-star Terry O'Quinn had developed. But the right play never came, and the pilot never matured into script form.Emerson spent close to a year out of work. With pilot season nearing, he approached Bad Robot, the company that had produced "Lost," and asked if there was anything he might be suited for. "They had this nice script at Bad Robot that I liked for a lot of reasonsnot least of which was that it was set in and had to shoot in NY City," he says. "If you start looking around at pilots, you dig deep and you find that not very many of them will be shot in NY or L.A. I had already done my time on the other side of the earth. It was important to me to have a family life again."The script was for "Person of Interest," in which Emerson stars as Harold Finch, an eccentric billionaire and tech genius who has developed a machine that anticipates terrorist acts. Jim Caviezel co-stars as an exCIA agent who, with Finch's voice in his ear, tries to stop those events before they happen. The character has been compared to Benjamin Linus, and Emerson admits that there are similarities. But the actor is comfortable with the overlapwhich is good, because the show has proved a solid ratings draw and recently received a full-season commitment from CBS."Maybe Ben Linus worked so well for me because it tapped into some core aesthetic I have as an actor," Emerson says. "I prefer mystery over obviousness. I prefer ambiguity to definition. And the only way I'm ever going to be able to put that aside is to do a completely different kind of material, probably on the stage."What type of material? He would love to do Shakespeare in the Parkwhich would bring him back to his roots in the classics at Alabama. Or maybe a comedy. "I was always a funny guy," he says, "before I got these frightening roles." And you know what? Emerson is a funny guy, because after talking to him for an hour, you forget that he sounds exactly like Benjamin Linus.

Martin Weisz to helm Safady's 'Dreamt'

Safady Entertainment ("Machine Gun Preacher") is beginning progression of supernatural thriller "Imagined" with Martin Weisz installed on direct.Script by Andrew Alexander, occur current day, concentrates on a few imaging in one another peoples lives. Conflict evolves following a males uncover one another peoples existence, leading one guy to dominate another peoples existence and stopping at nothing to be.Buddies Gary Safady and Craig Chapmans are coming up with along with Todd Moyer in the Flagship Management Group, who's presently creating the Brendan Fraser film "William Tell 3d.Inch Shooting is positioned to begin in April.Weisz directed "The Slopes Have Eyes II" and contains shot over 350 music videos for artists for instance Puff Father, Korn, Live, Sisqo, Nickelback and Fuel. Alexander is represented by Original Artists. Weisz is represented by Anonymous Content and it has Strange Pictures. Contact Dork McNary at dork.mcnary@variety.com

Davidson & Lin: Long-distance partners take it in stride

Sophia LinTyler DavidsonTyler Davidson and Sophia Lin never considered forming a formal producing partnership. After all, he is based in Ohio, while she conducts business from NY.But the pair so enjoyed collaborating on the Sundance breakout drama "Take Shelter" that they decided to reteam on the upcoming psychological thriller "Compliance," based on the true story of a prank phone call made to a restaurant that results in a rape.Lin became the first producer to board "Take Shelter" -- which is generating awards-season buzz for stars Michael Shannon and Jessica Chastain -- after helmer Jeff Nichols asked the producer to read his script in summer 2009. Nichols and Lin previously worked together on a project that eventually fell apart.Lin then brought Cleveland-based Davidson, a producer known for his ability at raising coin and navigating Ohio's tax credits. Davidson also helped assemble local crews for the Ohio-shot film.Though Nichols and Shannon are longtime friends, no one ever envisioned the "Boardwalk Empire" thesp for the lead. "It certainly hadn't been written with Michael in mind," says Lin, a New Jersey native and NYU grad.But the actor read twhe script and dove into the role of the young father plagued by a series of apocalyptic visions.Davidson, who nixed Florida State's graduate film school at the last minute and instead jumped right into producing with a pair of pics that includes the January Jones-Lukas Haas starrer "Swedish Auto," put together the financing for "Take Shelter," which cost less than $5 million."You have to stay flexible in this business," says the U. of Virginia alum, who has three films scheduled to lense early next year through his Low Spark Films. "You can't be so protective of any one vision or project. Sometimes it's the flexibility both on a creative and business level that is the difference between a film being made or not being made."10 PRODUCERS TO WATCH 2011Jason Michael Berman | Borderline Films | Tyler Davidson & Sophia Lin | James Gay-Rees | Lawrence Inglee | Red Granite Pictures | Laura Rister | Jonathan Schwartz | Diarmid Scrimshaw | Kevin Walsh Contact the Variety newsroom at news@variety.com

Academy to fete Redgrave

The Academy of movement Picture Arts and Sciences will recognition Vanessa Redgrave at its first European tribute for an actor on Sunday working in london, where she's starring with James Earl Johnson within the stage manufacture of "Driving Miss Daisy." The big event, located by scribe David Hare, includes special visitors Meryl Streep, Rob Fiennes, Joely Richardson, James Earl Johnson and Eileen Atkins. Past Academy leader Sid Ganis will introduce the evening. The salute will explore Redgrave's "dramatic range and exquisite skill," the Academy stated. Redgrave, 74, rose to prominence in 1961, playing Rosalind in "As You Desire It" using the Royal Shakespeare Company. Since that time, she's made an appearance in a large number of theatrical productions and most 70 films, that she received six Academy Award nominations along with a win for supporting actress in 1977's "Julia." She was nominated for performances in "Morgan!" (1966), "Isadora" (1968), "Mary, Full of Scots" (1971), "The Bostonians" (1984) and "Howards Finish" (1992). She stars in "Anonymous," now in release, and also the approaching "Coriolanus." Contact the range newsroom at news@variety.com

AFM 2011: Drafthouse Buys United States Privileges for Belgian Oscar Hopeful 'Bullhead,' 'Clown'

our editor recommendsBullhead: Berlin ReviewMafia Film 'Bullhead' Belgium's Official Oscar CandidateRelated Subjects•AFM 2011 Drafthouse Films, the independent distribution arm from the Alamo Drafthouse, stated early Friday at AFM it has signed a unique U.S. distribution cope with programming licensee and distributor Image Entertainment and hired James Emanuel Shapiro, former executive director of sales planning and purchases for Anchor Bay Entertainment, as COO. Drafthouse Films has additionally acquired United States privileges to crime drama Bullhead, Belgium's 2012 Oscar candidate for the best language film and comedy Clown. Michael Roskam's Bullheadplayed at Berlin Film Festival, amongst others, and it is in regards to a guy coping with the Belgian cattle growth the body's hormones mafia. Clownfollows "two extremely inappropriate buddies because they run amok with the Danish countryside plowing through social taboos and unspeakable debaucheries." "They perfectly embody the bold and diverse slate that people intend to release under Drafthouse Films, and Image Entertainment is the best partner to assist us obtain the largest possible achieve on their behalf,Inch stated Drafthouse Films founder Tim League. Also planned for Drafthouse Films in 2012 would be the lately introduced releases from the FPand the three dimensional restoration of eighties cult hit Comin' at Ya! The Look deal spans home video, digital, TV and VOD platforms helping expand the Alamo Drafthouse entertainment lifestyle brand. Drafthouse will release both cool product and repertory game titles included in the deal. Related Subjects Worldwide AFM 2011

Village Roadshow creates shingle in China

BEIJING -- Village Roadshow may be the latest worldwide shingle to go in the flourishing China market using the launch of Village Roadshow Entertainment Group Asia, a platform for Chinese film production and distribution. The business's slate is headed by romantic comedy "My Lucky Star," which is created by and star Chinese thesp Zhang Ziyi. VREG Asia and Dadi Media will collectively finance and co-produce the image, which is helmed by Dennie Gordon. The slate includes Stephen Chow's "Journey towards the West," a version from the "Monkey King" story. Chow will helm, produce and write "Journey," while Bingo Group, VREG Asia and Edko Films are collectively financing and co-creating. VREG Asia's topper is going to be former Warner Bros. China professional Ellen Eliasoph, that has 25 years' experience in the area, with Ming "Beaver" Kwei as executive veep of development and production, and Lizhi Chen as veep of selling and distribution. "Getting labored with China's filmmakers and film companies for several years inside a joint effort to build up the film market, I'm gratified to witness China's growing emergence like a major player within the global film industry, and delighted to take part in it," stated Eliasoph, who handled Warner Bros.' participation in "Turn Left, Turn Right," "The Colored Veil" and "Crazy Stone." "VREG Asia will propel this trend forward by working carefully with China's filmmakers, helping them tell their tales, and dealing to create their films for an ever-widening audience all over the world.Inch VREG Asia has additionally created proper overseas alliances using the leading Australian visual effects and animation studio Animal Logic, Cimarron Group, an entertainment marketing group with offices in Beijing and La, and also the researching the market and marketing information company Screen Engine. Contact the range newsroom at news@variety.com

Fire Spoils Halloween For Magic Castle

Fire erupted at Hollywood landmark the Magic Castle at midday Monday, but flames were confined mostly to the attic and no injuries were reported. Water damage may have been significant because the fire triggered sprinklers in the building. Cause of the “stubborn” fire that started at noon or shortly afterward was unknown. Firefighters were on the scene quickly and extinguished the blaze by about 1:45 p.m. The private club’s web site now bears the message: The Magic Castle will be closed tonight, October 31st, due to the fire that has just occurred. No word on when it might reopen.

'Puss' claws to come to light of Friday B.O.

'Puss in Boots'Paramount needed top honors Friday as three of the films lead the domestic B.O., like the DreamWorks animated "Puss in Boots," which bested with $9.6 000 0000.InchPuss" ended up being last week's monstrously effective holdover "Paranormal Activity 3," which made $6.5 million last evening.The "Shrek" prequel/spinoff is benefitting in the drought of family films lately. The relative insufficient kid fare has aided has aided youthful-skewing game game titles like Disney's "Real Steel" intrude round the family film demo (consequently "Real Steel" has cumed $70.5 million up to now, for example). "Puss" is predicted to bow around the mid-$Thirty Dollars million mark, possibly producing the record for Halloween weekend grosses.20th Century Fox's newcomer "Over TimeInch showed up in third with $4.3 million. Strangely enough enough, the sci-fier within the scribe behind "Gattaca" of a society that doesn't age past 25 is monitoring especially well using more than-25 males.Friday's fourth visited FilmDistrict's "The Rum Diary" with roughly $1.8 million. Pic has got the Actor-kaira Pitt reprising the Hunter S. Thompson-esque protagonist he originated from in "Fear and Loathing in Las vegas," which bowed to $4.3 million in 1998. "Rum," however, is predicted to land just behind "Over TimeInch with between $7 million and $9 million this frame.And Par's "Footloose" rounded the very best 5, also with $1.8 million, within the third outing. Film has cumed $34.8 million Stateside to date. Contact the number newsroom at news@variety.com

'Puss in Boots' expected to pounce on B.O.

"Puss in Boots" opens day and date in the U.S. and Russia. The family market, underserved in the past five weeks, could bring big Halloween-weekend B.O. for Paramount-DreamWorks Animation's 3D toon "Puss in Boots." Just how big the take is will depend on whether the film can extend its pawprint to auds beyond parents and tykes. Par expects a bow for "Puss" at around the mid-$30 millions, though other B.O. pundits say the film could reach somewhere north of $40 million. Also bowing wide, 20th Century Fox's high-concept actioner "In Time" opens at 3,122 locations, while R-rated Johnny Depp starrer "The Rum Diary" launches today at 2,272 Stateside engagements via FilmDistrict. Pre-weekend tracking suggests "In Time," pegged for a $12 million-$15 million opening, has an edge over "Diary," which likely will settle at between $8 million and $11 million through Sunday. Sony will see how effective its scaled-back release plans for Roland Emmerich's "Anonymous," which launches at 265 locations, turn out to be. The studio decided early last week to bow the film in limited release instead of going for a wide rollout. Overseas B.O. will looks to be dominated by "The Adventures of Tintin: The Secret of the Unicorn," following Paramount and Sony's early launch of the film abroad (see separate story). Par is launching "Puss" day-and-date with the U.S. in Russia, where 3D toons, particularly the "Shrek" franchise, have delivered big box office. The "Shrek" spinoff, budgeted at $130 million, should have considerable Stateside success. The film is poised to surpass previous Halloween weekend record holder "Saw III," which bowed in 2006 with $33.6 million domestically. Though Halloween usually isn't a very big weekend at the box office, the holiday falls on a Monday this year, freeing up trick-or-treaters to visit plexes, though pre-Halloweeen activities will still occupy families. A five-week drought of fresh family fare also bodes well for "Puss." The last family film to bow in the U.S., "Dolphin Tale," opened to $19.2 million, the same weekend as Disney's 3D retrofit of "The Lion King," which won in its second outing with $21.9 million. That pic far exceeded industry expectations during its debut frame, scoring north of $30 million and amassing almost $93 million to date. Both "Lion King" and "Dolphin Tale," with a cume of $65 million, benefited from a lack of family product in the market, as did DreamWorks' "Real Steel," which has taken in nearly $70 million since its Oct. 7 bow. It's unclear how much 3D screenings will boost overall totals for "Puss," launching at 2,827 3D locations, or 72% of its total 3,952 engagements. "Lion King" earned 91% of its opening from 3D, though that pic was marketed as a 3D event. "Puss" likely will see a similar or slightly better opening 3D share as "Dolphin Tale's" 50%. Mostly positive early reviews could help the DWA toon broaden to adult auds. Fox's "In Time," budgeted at around $40 million, has strongest interest among older men over 25, with additional support from both men and women under 25. From writer-director Andrew Niccol, "In Time," starring Justin Timberlake and Amanda Seyfried, tells the story of a near-futuristic society where its citizens don't age past 25. Pic will have to compete for teenage auds with Par's soph-sesh holdover "Paranormal Activity 3," which bowed above expectations at $52 million. "Rum Diary," which FilmDistrict acquired rights to last spring, cost a reported $45 million, produced by GK Films. Based on Hunter S. Thompson's semi-autobiographical novel, "Diary" should attract fans of Depp as well as readers of the late renegade journalist. FilmDistrict pre-screened "Diary" aggressively in college towns, including Austin, Texas, and Berkeley, Calif. In limited release, Par is launching Sundance's grand jury winner "Like Crazy" via the studio's Par Vantage label. Pic opens today at four locations in NY and L.A., with a soph-sesh expansion into the top 10 U.S. markets. Fox Searchlight, meanwhile, expands "Martha Marcy May Marlene" to 32 locations after a successful launch last weekend. Wall Street-themed thriller "Margin Call," from Roadside Attractions, is broadening to 140 playdates, more than double the pic's opening count. Contact Andrew Stewart at andrew.stewart@variety.com

Rihannas Audio Video Enrages Anti-Rape Group

Beyonce Rihanna's has upset an anti-rape organization together with her music video "We Found Love," which represents a tumultuous relationship between your songstress and her co-star, Dudley O'Shaughnessy, who so transpires with look nearly the same as her ex, Chris Brown.The on-screen duo battles their way via a toxic mixture of sex, drugs, and abuse - which most are interpretation like a re-enactment of Rihanna's own abusive relationship with Brown.Take a look at photos of Beyonce Critique from the video comes with respect to anti-rape activists who're worried about the content the recording transmits about objectifying women. "Rihanna's new video is really a disgrace. It transmits the content that they is definitely an resist be possessed by males, that is disturbingly what we should see in tangible violence cases." Eileen Kelly from the Rape Crisis Center within the U.K. told Britain's Daily Star.Take a look:Would you think Rihanna's video transmits the incorrect message?