Monday, September 12, 2011

Anderson Cooper Wants an 'Honest Conversation' as 'Anderson' Premieres

Anderson Cooper Wants an 'Honest Conversation' as 'Anderson' Premieres

On a rainy post-Labor day Tuesday in New York, Anderson Cooper hit the pavement hard enough to produce an impressive bit of road rash on his right elbow.

The CNN anchor, 60 Minutes contributor and—beginning today—daytime talk show host, was riding his bike to the Columbus Circle set of Anderson, his new Telepictures-produced talk show. He was not wearing a helmet (he doesn’t want to mess up his silver mane, he jokes), but he was filming his ride – via his iPhone – for a video intro to the show, which on this day features Kyle Richards, Lisa Vanderpump and Adrienne Maloof of The Real Housewives of Beverly Hills (the episode airs Sept 16).


Cooper, a pop culture junkie and avowed fan of both RHOBH and Real Housewives of Atlanta, booked the entire cast before the shocking Aug. 15 suicide of Russell Armstrong, husband of principal cast member Taylor Armstrong. Taylor Armstrong is not here today, nor is Kim Richards, who had an ugly blowup with her sister Kyle at the end of last season.

“He’s a super-fan, so he booked this a long time ago,” says Anderson executive producer Cathy Chermol, adding that Armstrong’s suicide gave Cooper “pause.” But now the tone of the Bravo show and the cast’s appearance on Anderson has taken a grim turn. So Cooper is doing his best to pull the curtain back on the frothy show that heretofore served as a “guilty pleasure” for him.

“The first season just seemed over the top and ridiculous,” Cooper tells THR in an interview. “And after what happened, you see it through a different lens. I just saw the first episode. But as I was watching I felt differently about it.

Cooper’s ability to glide between hard news and the Housewives will be put to a very public test in the coming weeks as audiences that know him as a newsman check out Anderson. But his entry into daytime comes at an auspicious time. Soap operas are on the endangered list. Oprah Winfrey has departed. Regis Philbin will do so in November. Rosie O’Donnell declined a second stab at daytime syndication and instead will host a primetime show on still nascent OWN. And Katie Couric – the other high-profile news personality giving the softer touch and potentially more lucrative perch of daytime a whirl – does not move into the daypart until fall 2012.

“I think we actually got in [at the right time],” says Telepictures president Hilary Estey McLoughlin. “Katie is coming a year from now, which could be the later part of the curve. This is the time when viewers are searching for alternatives. I just think the opportunity to strike is now. And I think Anderson has a great shot at it.”

STORY: 'Real Housewives of Beverly Hills' to Appear on 'Anderson' Talk Show

In the studio at Jazz at Lincoln Center’s Allen Room, with it’s sweeping view of Columbus Circle and the southwest end of Central Park, where the CNN digital clock serves as the real-time backdrop for Anderson, Cooper tells his audience: “By the end of the show today I hope we’ll all learn just how real these Real Housewives are willing to get.”

Indeed, it’s clear from Cooper’s line of questioning that he’s donning his journalist hat, and at least in the early blocks, is approaching the Housewives not as a fan but as an inquisitor. He tells his audience that Kim Richards was also supposed to be here, but she missed her flight – and a second flight she was rebooked on. When Kyle Richards says her sister is truly sorry she couldn’t be here, Cooper counters: “I don’t think she really wanted to be here.”

VIDEO: Anderson Cooper Gets a Giant Billboard in Times Square

He plays the harrowing 911 tape from the scene of Russell Armstrong’s suicide. When Kyle Richards says Taylor Armstrong was “upset” that the tape “got out,” Cooper coolly replies: “Police release 911 calls.”

He presses Camille Grammer, who appears via satellite from Los Angeles, about her break-up with Kelsey Grammer. She admits that the couple, who have two young children, “do not speak at all.”

“We don’t even speak through a mediator, just through lawyers,” she says.

He asks his guests if Taylor Armstrong said her late husband was “abusive.” He asks Kyle Richards if her sister has a drinking problem. And he generally attempts to challenge the thinly veiled conceit that reality television is real.

“There’s a lot of stirring the pot for the cameras.”

“Don’t you play to the cameras?”

“How real is it?”

When Maloof suggests that Bravo executives are “trying to open up a dialogue” about depression and suicide, Cooper counters: “Do you believe that, though? I’ve been touched by suicide. (Cooper’s older brother took his own life when he was 23-years-old and Cooper was 21.) I guess the question is, is reality television really the right forum to bring it up?”

But this is daytime TV, not CNN, and Cooper knows he’s not interviewing cagey politicians on the campaign trail or wily officials from tyrannical governments.

“I think there’s only so much they’re going to say,” he acknowledges. “People dodge uncomfortable questions all the time. I face that in news. I think it’s important to acknowledge when somebody’s dodging. But there’s a level of artifice to the whole [reality television] format, so it’s tough to go beyond that.”

Asked what effect his Housewives grilling will have on his well-documented friendship with Andy Cohen, Bravo executive vp and Real Housewives referee, Cooper shrugs.

STORY: Anderson Cooper Attacked by Mob in Egypt

“I don’t know. I think Bravo is under tremendous pressure. I’m sure they would much rather people not even be talking about the suicide. They’re obviously smart enough to know this is a topic they have to address and I think they’re coming under some understandable criticism for going forward with the season. I don’t know how they’ll feel about it. It doesn’t really concern me too much. I want to be fair to anybody who comes on the show. But most importantly, I want our viewers to feel like they’ve gotten a real conversation.”

Cooper gets the hard questions out of the way early and by the end of the show, Vanderpump’s dog Giggy has joined his owner on the couch. The tiny Pomeranian with the enormous wardrobe has his own Twitter account and, according to Vanderpump, a case of what appears to be selective Alopecia. Giggy has hair on his head and legs, “like you Anderson,” Vanderpump suggests as she crawls on the floor with her dog, bending her face toward him for a kiss.

For his part, the second job (or third if you count the six pieces Cooper does each year of 60 Minutes) has added exponentially to Cooper’s workday, which begins at 7 a.m. and ends at 9 p.m. or 11 p.m., depending when Anderson Cooper 360 wraps. Last month, CNN moved the show two hours earlier to 8 p.m., but when breaking news warrants, as it did last Thursday with a pre-9/11 terror threat in New York City, Cooper is also live in the CNN studio for the 10 p.m. repeat of AC360, which makes for a long day.

“I’m sure some TV people will tell you, yes that’s a long day,” says Cooper. “But I do stories on people who do real work. I’ve been out with the Marines in Helmond Province. They have a long day. I work in TV.”

'SpongeBob SquarePants' Hurts Kids: Study

'SpongeBob SquarePants' Hurts Kids: Study

CHICAGO -- The cartoon character SpongeBob SquarePants is in hot water from a study suggesting that watching just nine minutes of that program can cause short-term attention and learning problems in 4-year-olds.

The problems were seen in a study of 60 children randomly assigned to either watch "SpongeBob," or the slower-paced PBS cartoon "Caillou" or assigned to draw pictures. Immediately after these nine-minute assignments, the kids took mental function tests; those who had watched "SpongeBob" did measurably worse than the others.

Previous research has linked TV-watching with long-term attention problems in children, but the new study suggests more immediate problems can occur after very little exposure – results that parents of young kids should be alert to, the study authors said.

Kids' cartoon shows typically feature about 22 minutes of action, so watching a full program "could be more detrimental," the researchers speculated, But they said more evidence is needed to confirm that.

The results should be interpreted cautiously because of the study's small size, but the data seem robust and bolster the idea that media exposure is a public health issue, said Dr. Dimitri Christakis. He is a child development specialist at Seattle Children's Hospital who wrote an editorial accompanying the study published online Monday in the journal Pediatrics.

Christakis said parents need to realize that fast-paced programming may not be appropriate for very young children. "What kids watch matters, it's not just how much they watch," he said.

University of Virginia psychology professor Angeline Lillard, the lead author, said Nickelodeon's "SpongeBob" shouldn't be singled out. She found similar problems in kids who watched other fast-paced cartoon programming.

STORY: Nickelodeon's 'SpongeBob SquarePants' Renewed for Ninth Season



She said parents should realize that young children are compromised in their ability to learn and use self-control immediately after watching such shows. "I wouldn't advise watching such shows on the way to school or any time they're expected to pay attention and learn," she said.

Nickelodeon spokesman David Bittler disputed the findings and said SpongeBob SquarePants is aimed at kids aged 6-11, not 4-year-olds.

"Having 60 non-diverse kids, who are not part of the show's targeted (audience), watch nine minutes of programming is questionable methodology and could not possibly provide the basis for any valid findings that parents could trust," he said.

Lillard said 4-year-olds were chosen because that age "is the heart of the period during which you see the most development" in certain self-control abilities. Whether children of other ages would be similarly affected can't be determined from this study

Most kids were white and from middle-class or wealthy families. They were given common mental function tests after watching cartoons or drawing. The SpongeBob kids scored on average 12 points lower than the other two groups, whose scores were nearly identical.

In another test, measuring self-control and impulsiveness, kids were rated on how long they could wait before eating snacks presented when the researcher left the room. "SpongeBob" kids waited about 2 1/2 minutes on average, versus at least four minutes for the other two groups.

The study has several limitations. For one thing, the kids weren't tested before they watched TV. But Lillard said none of the children had diagnosed attention problems and all got similar scores on parent evaluations of their behavior.

Young Carrie Bradshaw Heads To The CW In 'The Carrie Diaries'

Sarah Jessica Parker films a scene from 'Sex and The City 2' on the streets of Manhattan on September 1, 2009 -- WireImage

Carrie Bradshaw could be back on the small screen!

According to multiple reports, The CW has bought "The Carrie Diaries'' project - a "Sex and The City" prequel based on Candace Bushnell's book about Carrie's time in high school.

PLAY IT NOW: Sarah Jessica Parker: Is 'Sex And The City 3' Coming Anytime Soon?

The show is being developed by "Gossip Girl" producers Josh Schwartz and Stephanie Savage and according to Entertainment Weekly, the series could end up on the air by next fall.

Deadline reported that Warner Bros. TV, which owns the rights to the "The Carrie Diaries,'' is working out a deal that would allow the series to use characters and elements from the hit HBO series.

VIEW THE PHOTOS: Top 10 Fan-Fascinating Hollywood Recastings

Samantha Jones is featured in Bushnell's book, but Miranda Hobbes and Charlotte York - along with the rest of Carrie's circle of friends - are not.

As of now, HBO series creator Darren Star and star Sarah Jessica Parker are not attached to the project.

Reps for The CW and Warner Bros. TV declined to comment when contacted by Variety. VIEW THE PHOTOS: Guest Stars Of ‘Sex And The City’

Last month, Michael Patrick King, co-executive producer of the "Sex and The City" television series and writer of both movies, voiced his feelings about a prequel.

"I'm not working on any 'Sex and The City' prequel at all," King said during a Television Critics Association panel to promote his new CBS show, "2 Broke Girls," in August.


"My Carrie Bradshaw started at 33, and I took her to 43. So I have no I didn't even want to know who Carrie Bradshaw's parents were because I thought she just existed in Manhattan," he said. "So for me, the idea of going backwards and making her less evolved, because the whole 'Sex and The City' was about going from 33 to growth, so for me the idea of going backwards is something that I don't even imagine doing."

Copyright 2011 by NBC Universal, Inc. All rights reserved.
This material may not be published, broadcast, rewritten or redistributed.

Andy Whitfield's Death: Hollywood Pays Tribute to Former 'Spartacus' Star

Andy Whitfield's Death: Hollywood Pays Tribute to Former 'Spartacus' Star Hollywood was quick to share its sadness over the death of former Spartacus star Andy Whitfield.

Whitfield died Sunday of non-Hodgkin Lymphoma. He was diagnosed with the disease 18 months ago while prepping for the second season the Starz series.

Starz, with Whitfield’s blessing, later replaced him in the title role with Liam McIntyre.

PHOTOS: Hollywood's Notable Deaths

After the news of Whitfield’s death broke, several in Hollywood took to Twitter to share their condolences.

Spartacus creator Steven DeKnight
No words to express the depth of such a loss. You will be deeply missed, my brother.

Actress Katee Sackhoff
I'm so saddened by the news of Andy Whitfield's passing. He was a great talent and a true warrior. #RIP

STORY: Liam McIntyre to Replace Andy Whitfield on 'Spartacus'

X-Men: First Class co-writer Zack Stentz
RIP Andy Whitfield. You can be beautiful, strong & on top of the world & it can all be taken away in a moment. Life your life accordingly.

Pushing Daisies creator Bryan Fuller
REST IN PEACE, MR. WHITFIELD

VIDEO: New 'Spartacus' Star Liam McIntyre Makes Debut Appearance

Community star Joel McHale (retweeting Fuller's tweet)
Terribly sad

Director Norman Buckley (Gossip Girl, Pretty Little Liars)
So sad about Andy Whitfield. But a lesson--there are no guarantees. Every moment is precious. Life is a gift.

Terra Nova star Jason O'Mara
Shocked to hear of Andy Whitfield's passing. An actor who had just entered the prime of his career. So sad. He was my age... #Spartacus

STORY: Andy Whitfield Not Returning to 'Spartacus'

Terriers star Donal Logue
Non-hodgkins lymphoma & 67 other terminal illnesses need not be fatal if a marrow donor can be found- @bethematch.org. save a life

Paranormal State co-executive producer/star Ryan Daniel Buell
Spartacus star Andy Whitfield died of cancer today! He was an amazing actor! RIP Andy!

Entourage' Series Finale: What the Critics Say

'Entourage' Series Finale: What the Critics Say

Entourage wrapped up its eight-season run on HBO Sunday night, earning mixed reviews from fans.

But what did critics say of the final episode, in which **spoiler alert ** Ari (Jeremy Piven) quits his job to reunite with his estranged wife (Perrey Reeves), Eric (Kevin Connolly) makes up with a pregnant Sloan (Emmanuelle Chriqui) and Vince (Adrian Grenier) heads to Paris to get married?

STORY: 'Entourage' Series Finale: What the Viewers Are Saying



"All good things must come to an end," but the show "went out with a bang," writes Jon Friedman in the Wall Street Journal.

"In the final half-hour, the series creator/chief writer Doug Ellin resolved all of the loose ends leading up the last episode," he added. "Long live Entourage. I can’t wait for the movie."

Indeed, Connolly recently told The Hollywood Reporter that the finale was written in a way to “tee up” the film.

PHOTOS: Behind the Scenes of THR's 'Entourage' Roundtable



Alessandra Stanley described the series in the New York Times as "a starry bromine with staying power."

STORY: 'Entourage' Final Season Premiere: What the Critics Say



"Some fans complained that Entourage grew stale, but actually it’s remarkable how fresh the series managed to stay given how temporal its setting. The show began in 2004 before the heyday of The Hills and gossip roundups by TMZ.com. The closest thing to Entourage was Curb Your Enthusiasm, which was also about Hollywood but focused on entertainment mandarins nearing the sunset of their careers," she wrote.

COVER STORY: 'Entourage' Secrets From the Boys of Summer

"Sunday’s finale tied up loose ends by wrapping them around Vince’s largess: he engineered reconciliation between Eric and Sloan and even hired them a private jet to work on it alone. He invited Ari and his wife, best known as Mrs. Ari, to come with him to Paris. He helped Drama get a movie deal and saved Turtle from financial ruin. Devotion flowed both ways: Vince’s own happy ending was helped along by Drama and Turtle, who persuaded the skeptical Oxford-educated beauty Sophia (a Vanity Fair reporter) to give Vince a chance," she added.

PHOTOS: 'Entourage's' Most Unforgettable Cameos

"People think that love can’t last in Hollywood, but in real life friendship is more capricious. “Entourage” nurtured the fantasy that some bonds are so precious that nothing, not even fame, money and sex, can tear them asunder," she went on.

Kate Stanhope of TV Guide had mixed feelings about the last episode in her review, which was titled, "How the heck did we get here?"

STORY: 'Entourage's' Vanity Fair Storyline: How Real Was It?

"Does Vince deserve to find a nice girl and be happy like everyone else? Sure. But why so rushed? And why did he and Sophia have to prove their love by tying the knot (and hello? Would someone like Sophia, an intelligent woman who most recently dated a doctor from Johns Hopkins, really marry someone like Vince after a few days? I think not). After two crazy whirlwind romances and more one-night-stands than Wilt Chamberlain, couldn't the writers have just left it at, 'I met a nice girl! I'm crazy about her! We'll see where it goes' and let viewers' imaginations take the wheel," she writes.

VIDEO: 'Entourage' Series Finale: The Cast Opens Up About Last Episode Taping

"Much more logical was Vince's final save for Eric, and his subsequent letting-go of his best friend once-and-for-all. Deep down, the series was always about the friendship between these four guys, and seeing that friendship morph into something new and less codependent for Eric and Vince felt right," she added.

Jennifer Lopez & Bradley Cooper's Dinner: Business Or Pleasure?

Jennifer Lopez and Bradley Cooper attend the Tommy Hilfiger Spring 2011 Men's and Women's show during Mercedes-Benz fashion week at Lincoln Center in New York City on September 12, 2010 -- WireImage

Jennifer Lopez and Bradley Cooper caused quite a few headlines when the pair had dinner together over the weekend, but was it a date?Reports swirled that the pair had a romantic dinner at New York City's Per Se on Saturday, but a People source said the newly single Jennifer, 42, and Bradley, 37, were just having a business meeting. PLAY IT NOW: Marc Anthony On Maintaining A Business Relationship With Jennifer Lopez: It Is Challenging? J.Lo and the actor are "in discussions regarding a project," the source told the mag.AH Nation Poll: Would Jennifer Lopez and Bradley Cooper make a good couple? Vote HERE! VIEW THE PHOTOS: A Look Back: Jennifer Lopez & Marc Anthony The singer/actress/"American Idol" judge announced her split with Marc Anthony on July 15.Bradley has reportedly recently been linked to Olivia Wilde and Charlize Theron.Copyright 2011 by NBC Universal, Inc. All rights reserved.
This material may not be published, broadcast, rewritten or redistributed.

"Rampart" star Harrelson tries to avoid Oscar buzz

  • Actors Woody Harrelson (R) and Robin Wright pose during the press conference for the film "Rampart" at the 36th Toronto International Film Festival September 11, 2011. REUTERS/Mike Cassese

    Actors Woody Harrelson (R) and Robin Wright pose during the press conference for …

TORONTO (Reuters) - Woody Harrelson is winning praise for an intense performance as dirty cop in "Rampart", but the former "Cheers" star is trying hard not to dwell on the prospect of a third Oscar nomination.

"It's always nice to get an invite to the party, but we can't count on those things," he told reporters at the Toronto Film Festival. "I can't really think about those things. On the other hand I can't think about anything else."

"Rampart", which had its world debut at the Toronto International Film Festival on Saturday, reteams Harrelson with "The Messenger" director Oren Moverman. Harrelson received an Oscar nomination for that movie, playing a U.S. soldier who notifies families when their loved ones are killed.

The pair's latest film moves into starkly different terrain. Co-written by Moverman and "L.A. Confidential" author James Ellroy, it tells the story of Los Angeles police officer Dave Brown.

Nicknamed "Date Rape" by his colleagues for killing a serial rapist years before, the hard-drinking Brown finds his life spinning out of control in the midst of a wider corruption scandal.

With a combination of violence, charm and self-destructiveness, Harrelson's character is reminiscent of the corrupt police officers played by Denzel Washington in "Training Day", Richard Gere in "Internal Affairs" and Harvey Keitel in "The Bad Lieutenant"

But the 50 year-old Harrelson, who was also nominated for an Oscar with his portrayal of porn king Larry Flynt in 1996 movie "The People vs. Larry Flynt", said he had to put those other actors out of his mind.

"I didn't really try to stack myself up against Harvey Keitel or any of these other performances. If I were to think that way, I'd shoot myself in the foot before I got out of the gate because those are amazing performances," he said.

"To me it was just about coming to believe that I could be a cop. That was my hardest thing."

To achieve this, Harrelson spent time in patrol cars with Los Angeles police officers. He also lost 29 lbs, giving his pill-popping character a lean and hungry look.

Harrelson credits Moverman with the buzz that "Rampart" is receiving, saying the director is consistently aiming high.

But co-star Ben Foster, who also worked with Harrelson in "The Messenger", said the former sitcom star is humble about his talent and the work he puts into bringing a character to life.

"He's one of the most thorough actors. He's a national treasure," Foster said of Harrelson.

Universal, Morgan Creek to co-finance "The Thing"

  • Actress Mary Elizabeth Winstead arrives at "Celebrate Sundance Institute" the Sundance Institute's inaugural benefit in Beverly Hills, California, June 8, 2011. REUTERS/Gus Ruelas

    Actress Mary Elizabeth Winstead arrives at "Celebrate Sundance Institute" the Sundance …

LOS ANGELES (TheWrap.com) - Universal Pictures and Morgan Creek Productions will co-finance "The Thing," the companies announced on Monday.

The horror film will be co-distributed internationally by the two companies.

Under the pact, Universal retains the bulk of the film's worldwide distribution rights. Morgan Creek will distribute through its network of partners in the territories it retains -- none of which were revealed in the announcement.

Universal currently distributes all of Morgan Creek's productions in the United States.

The film is being billed as a prequel to the John Carpenter cult classic, itself a remake of the early 1950s film.

"The Thing" hits theaters on October 14 and stars Joel Edgerton ("Warrior") and Mary Elizabeth Winstead ("Death Proof"). Matthijs van Heijningen Jr. directs.

Knightley to adopt English accent for Anna Karenina

  • Actress Keira Knightley of the film "A Dangerous Method" poses for a portrait during the 36th Toronto International Film Festival (TIFF) in Toronto, September 11, 2011. TIFF runs rom September 8-18. REUTERS/Mark Blinch

    Actress Keira Knightley of the film "A Dangerous Method" poses for a portrait during …

TORONTO (Reuters) - Keira Knightley will speak with an English accent when she plays the classic Russian character of Anna Karenina, the actress said on Sunday at the Toronto Film Festival.

The British actress, who is at Toronto promoting her role in "A Dangerous Method" -- in which she also plays a Russian character -- told Reuters in an interview on Sunday that for her biggest role yet, in the upcoming "Anna Karenina," director Joe Wright and a cast including Jude Law had decided to speak with English rather than Russian accents.

"It's going to be an English accent. It's always very tricky when you are doing something that is meant to be in another language. Because you are like, what accent should it be, should you do that? Well, if you've got a Russian accent, why aren't you speaking Russian? It's an English-language film. So we have taken the decision that it's an English accent," she said.

The film, adapted from Leo Tolstoy's novel, considered one of the greatest of all time, will start shooting in a week's time. The cast already has completed three weeks of rehearsal, Knightley said.

"I've been reading the book now, for about two months, three months, poring through it, trying to pick pieces out of it, trying to figure it out. And then a couple of history books of that era in Russia, which is fascinating," the 26-year-old actress said.

Knightley has received some praise for her turn in David Cronenberg's "A Dangerous Method" -- which premiered at Toronto on Saturday -- in which she plays Russian patient Sabina Spielrein, who comes between psychoanalysts Carl Jung and Sigmund Freud. In that film she does use a Russian accent.

But looking ahead, she said her mind was tuned to the late-19th-century Russian high society of "Anna Karenina," as she follows the likes of Greta Garbo in the title role.

"It's a big boy," she said about the role. "It's very challenging, it's very very exciting ... hopefully it will all come together."

Clooney charms Toronto playing a family man

  • Actor George Clooney smiles during the news conference for the film "The Descendants" at the 36th Toronto International Film Festival September 10, 2011. REUTERS/Mike Cassese

    Actor George Clooney smiles during the news conference for the film "The Descendants" …

TORONTO (Reuters) - Calling acting just his "day job," George Clooney is winning over movie critics and audiences in Toronto with a nuanced performance as a father forced to rethink his life after his wife suffers a debilitating accident.

Clooney plays the key role in "The Descendants," a new feature from Alexander Payne, who directed the Oscar-winning "Sideways," and he brings a similar blend of humor and heartbreak to this new movie set against a Hawaiian backdrop.

The film is one of the big attractions at the Toronto International Film Festival, with Clooney hitting the red carpet on Saturday with typical self-deprecating remarks and charm, joking with a large audience that playing a family man was, of course, a natural fit for the famous bachelor.

"He did seem like a very good family man, it seemed perfect for me," he told a laughing audience at the premiere, who threw questions at him about how he could possibly be so in tune with his parenting side for the role when, in real life, he's unmarried and has no children.

In "The Descendants," Clooney plays a successful real estate lawyer coping with tragedy and reconnecting with his two daughters while facing his past, his shortcomings as a father and a different future. The film was adapted by Payne and two other screenwriters from Kaui Hart Hemmings' 2007 novel of the same title.

Coming straight off favorable reviews for his directing and acting in the political drama "The Ides of March," which premiered at the Venice Film Festival and has pleased audiences in Toronto, the actor has drawn praise for his turn in "The Descendants," with critics calling his performance perfectly underplayed, and noting Payne's ability to subtly but quickly change tones.

The Hollywood Reporter said, "Never has (Payne's) knack for mixing moods and modulating subtle emotions been more evident," while Clooney noted that "there's a sense that he's able to turn things from funny to sad really quickly, and he's just a master of it."

DO OSCARS AWAIT?

Clooney told reporters the role was more of a challenge than usual.

"This is one that you are in a very uncomfortable zone, with very comfortable people, but it is a tricky place to play. Obviously it is a much more difficult part," he said, adding that playing a father wasn't that much of a stretch. "You don't have to shoot heroin to play a heroin addict."

As Payne did in his hit film "Sideways," for which he won an Oscar for best adapted screenplay, he's again exploring the ways flawed ordinary people cope with life. He said he began working on the script several years ago and wanted no one but Clooney to play the central part.

"George has the right look and the right height, and even though we did not work together on 'Sideways,' he really is one of the few contemporary stars that I really did want to work with. I suspected that we would hit it off," Payne said. "He was completely right for the part."

Asked about whether he was ready for any award nominations, Clooney said, "I have won an award once" -- for his supporting role in "Syriana" -- "so when I die, they say Oscar winner. It's a great, nice sort of thing to have on the tombstone, but after that, to me, I really like it when people appreciate the work," he said.

The 50-year-old actor said that for him, the world of movies was not about competition.

"I don't really have this dying need to collect things. There is a point in time when you start in this and you do get competitive. You can get caught up in it, trying to compete with people, and you realize, this is silly, we are comparing artists," he said.

"The Descendants" and "The Ides of March," Clooney's fourth feature as a director, will both be released in theaters this fall, but the actor said he is not concerned about them competing against one another.

Nor is he unclear about whether he prefers acting or directing.

"My day job is acting, and that is how I make my living, and directing is something I really want to do and really enjoy doing."

Sunday, September 11, 2011

Cliff Robertson Dies at 88

Cliff Robertson Dies at 88

Cliff Robertson, who won an Oscar for portraying a mentally handicapped man in Charly in 1968, died on Saturday at age 88.

Roberton's secretary of 53 years, Evelyn Christel, told the Associated Press the actor died of natural causes in Long Island, one day after his 88th birthday.


In 1963, Robertson played a young John F. Kennedy in PT 109. In recent years, Robertson was known for his role as Uncle Ben in the Spider-Man movies.


The California native was married to Cynthia Stone from 1957 to 1960; they had one daughter together, Stephanie. He was married to Dina Merrill from 1966 to 1986 and had a daughter named Heather together. Heather passed away in 2007 of pancreatic cancer, before both of her parents.

His daughter Stephanie Saunders said in a statement obtained by the wire service: "My father was a loving father, devoted friend, dedicated professional and honorable man. He stood by his family, friends, and colleagues through good times and bad. He made a difference in all our lives and made our world a better place. We will all miss him terribly."

Charlie Sheen smiles through Comedy Central roast

Charlie Sheen is seen with Slash at the "Comedy Central Roast of Charlie Sheen" on Saturday, Sept. 10, 2011 in Culver City, Calif. (AP Photo/Dan Krauss)

CULVER CITY, Calif. (AP) — Charlie Sheen smiled through a Comedy Central roast as Mike Tyson, William Shatner, actress Kate Walsh and half a dozen comedians riffed on his high-profile year.

Sheen was famously fired from his sitcom "Two and a Half Men" in March after a very public meltdown during which he claimed to be a "rock star from Mars" who has "tiger blood" and "Adonis DNA."

The 46-year-old actor is the subject of the latest roast, which was taped Saturday night at Sony Studios and will air Sept. 19 on Comedy Central.

Sheen took the stage in true rock-star fashion, as rock 'n' roll guitarist Slash heralded his introduction. The actor, dressed in a black suit, white shirt and red tie, smiled and laughed as roasters jabbed at his famous family, his notorious taste for drugs and prostitutes and his primetime firing.

"Charlie's meltdown was so bad, Al Gore's making a documentary about it," quipped comedian Jeffrey Ross, who was dressed as Muammar Gaddafi in a military outfit with fringed epaulets and a sash.

"The only time your kids get to see you is in re-runs," Ross said.

Comedian Jon Lovitz also took a timely swipe at Sheen: "How much (cocaine) can Charlie Sheen do?" he asked. "Enough to kill two and a half men."

Priceline pitchman Shatner reminded Sheen to "book your next rehab stay through Priceline.com."

Walsh, who is best known for her roles on "Grey's Anatomy" and "Private Practice," gave standup a shot at the roast. "It's amazing, despite all those years of abusing your lungs, your kidneys and your liver, the only thing you've had removed is your kids," she said to Sheen.

The most bizarre performer was Tyson, who got plenty of laughs despite his almost unintelligible delivery. "I'm the greatest poet alive," he said as he concluded his time on stage. "I will eat your children!"

Comedian Amy Schumer joked, "Is his interpreter here?"

Steve-O of "Jackass" fame was also among the roasters. His big trick was running repeatedly into Tyson's fist, which he did until he reportedly broke his nose.

The comics also took digs at Sheen's former live-in girlfriends, whom he referred to as "the goddesses," and ex-wife Brooke Mueller, who was sitting in the audience Saturday.

After the comedians had their say, roast master Seth MacFarlane introduced the night's honoree as "a man with a big heart, because it's been dangerously enlarged by cocaine use."

Sheen jabbed back at his roasters and poked fun at his image.

"It's true I've hung around with a lot of shady people over the years: Losers, drug addicts, dealers, desperate whores," he said. "But to have you all here on one night is really special."

He sipped a drink as he addressed the crowd, who sat in bleachers and at bar tables inside Sony Studios' stage 27. At one point, he seemed to reflect sincerely on his career, talking about how he had "the biggest salary on television" and publicly enjoyed drugs and porn stars before telling off his boss.

"And then it was gone in one fiery public flameout," he said.

"It was only when the smoke cleared I realized just how lucky I am, because even after all that, I still have a family that loves me. That's why they're not here tonight," he continued. "They've seen me in jail. They've seen me rushed to emergency rooms. They've seen me dragged into court. But seeing me on basic cable would kill them."

He said he's done with his catchphrase — winning! — because he feels he's already won.

"This roast may be over, but I'm Charlie Sheen, and in here burns an internal fire," he said, touching his chest. "I just have to remember to keep it away from a crack pipe."

___

De Niro back to NYC from Toronto premiere for 9/11

Actor Robert De Niro arrives at the gala for the film "Killer Elite" during the Toronto International Film Festival in Toronto Saturday, Sept. 10, 2011. (AP Photo/The Canadian Press - Darren Calabrese)

TORONTO (AP) — Robert De Niro helped revitalize lower Manhattan after the 9/11 terror attacks but says he has no plans to go to ground zero on the 10th anniversary.

The New York resident was in Toronto on Saturday for the premiere for his film, "The Killer Elite." He says he feels the ground zero ceremony is "for certain dignitaries and the families."

He returned home to New York for Sunday's anniversary.

A resident of the Tribeca neighborhood that housed the World Trade Center, De Niro was instrumental in starting the Tribeca Film Festival, which brought business back to the devastated area.

De Niro produced a prerecorded address commemorating the day that will be played at the football game when the New York Jets open their season against the Dallas Cowboys Sunday night.

Actor Robert De Niro arrives at the gala for the film "Killer Elite" during the Toronto International Film Festival in Toronto Saturday, Sept. 10, 2011. (AP Photo/The Canadian Press - Darren Calabrese)

Cliff Robertson, who played JFK in 'PT-109,' dies

FILE - In this May 22, 1966 file photo, actor Cliff Robertson holds the Emmy he won for the outstanding single performance by an actor in a leading role in a drama at the 18th annual Television Academy Awards in the Hollywood section of Los Angeles. Robertson, the movie actor who played John F. Kennedy in "PT-109," won an Oscar for "Charly" and was famously victimized in a 1977 Hollywood forgery scandal, died Saturday, Sept. 10, 2011. He was 88. (AP Photo)

NEW YORK (AP) — President John F. Kennedy had just one critique when he saw photos of the actor set to play him in a World War II drama.

The year was 1963 and actor Cliff Robertson looked convincing in his costume for "PT-109," the first film to portray a sitting president. Kennedy had favored Robertson for the role, but one detail was off.

Robertson's hair was parted on the wrong side.

The actor dutifully trained his locks to part on the left and won praise for a role he'd remain proud of throughout his life.

Robertson, who went on to win an Oscar for his portrayal of a mentally disabled man in "Charly", died of natural causes Saturday afternoon in Stony Brook, a day after his 88th birthday, according to Evelyn Christel, his secretary of 53 years.

Robertson never elevated into the top ranks of leading men, but he remained a popular actor from the mid-1950s into the following century. His later roles included kindly Uncle Ben in the "Spider-Man" movies.

He also gained attention for his second marriage to actress and heiress Dina Merrill, daughter of financier E.F. Hutton and Marjorie Merriweather Post, heiress to the Post cereal fortune and one of the world's richest women.

His triumph came in 1968 with his Academy Award performance in "Charly," as a mentally disabled man who undergoes medical treatment that makes him a genius — until a poignant regression to his former state.

"My father was a loving father, devoted friend, dedicated professional and honorable man," daughter Stephanie Saunders said in a statement. "He stood by his family, friends, and colleagues through good times and bad. He made a difference in all our lives and made our world a better place. We will all miss him terribly."

Robertson had created a string of impressive performances in television and on Broadway, but always saw his role played in films by bigger names. His TV performances in "Days of Wine and Roses" and "The Hustler," for example, were filmed with Jack Lemmon and Paul Newman, respectively. Robertson's role in Tennessee Williams' play "Orpheus Descending" was awarded to Marlon Brando in the movie.

Robertson first appeared in the "Charly" story in a TV version, "The Two Worlds of Charlie Gordon." Both were based on "Flowers for Algernon," a short story that author Daniel Keyes later revised into a novel. Robertson was determined that this time the big-screen role would not go to another actor.

"I bought the movie rights to the show, and I tried for eight years to persuade a studio to make it," he said in 1968. "Finally I found a new company, ABC Films. I owned 50 percent of the gross, but I gave half of it to Ralph Nelson to direct."

Critic Roger Ebert called Robertson's portrayal "a sensitive, believable one." The motion picture academy agreed, though Robertson was unable to get a break from an overseas movie shoot and was not on hand when his Oscar was announced.

Portraying Kennedy in "PT-109," presented other challenges. The president warned Robertson he didn't want someone trying to imitate his distinctive New England accent.

"That was fine with me," the actor commented in 1963. "I think it would have been a mistake for me to say 'Hahvahd' or try to reproduce gestures. Then the audience would have been constantly aware that an actor was impersonating the president."

He added that the film obviously couldn't be done with heroics, "like Errol Flynn gunning down 30 of the enemy. This young naval officer just does things because they have to be done."

"PT-109" was plagued with problems from the start: script changes, switch of directors, bad weather, snakes and mosquitoes in the Florida Keys where it was filmed.

The troubles were evident on the screen, and critics roundly rapped the film, although Robertson's work won praise.

In 1977, Robertson made the headlines again, this time by blowing the whistle on a Hollywood financial scandal.

He had discovered that David Begelman, president of Columbia Pictures, had forged his signature on a $10,000 salary check, and he called the FBI and the Burbank and Beverly Hills police departments. Hollywood insiders were not happy with the ugly publicity.

"I got phone calls from powerful people who said, 'You've been very fortunate in this business; I'm sure you wouldn't want all this to come to an end,'" Robertson recalled in 1984.

Begelman served time for embezzlement, but he returned to the film business. He committed suicide in 1995.

Robertson said neither the studios nor the networks would hire him for four years.

He supported himself as a spokesman for AT&T until the drought ended in 1981 when he was hired by MGM for "Brainstorm," Natalie Wood's final film.

Born Sept. 9, 1923, in La Jolla, Calif., Robertson was 2 when he was adopted by wealthy parents who named him Clifford Parker Robertson III. After his parents divorced and his mother died, he was reared by his maternal grandmother, whom he adored.

Robertson studied briefly at Antioch College, majoring in journalism, then returned to California and appeared in two small roles in Hollywood movies. Rejected by the services in World War II because of a weak eye, he served in the Merchant Marine.

He set his sights on New York theater, and like dozens of other future stars, profited from the advent of live television drama. His Broadway roles also attracted notice, and after avoiding Hollywood offers for several years, he accepted a contract at Columbia Pictures.

"I think I held the record for the number of times I was on suspension," he remarked in 1969. "I remember once I turned down a B picture, telling the boss, Harry Cohn, I would rather take a suspension. He shouted at me, 'Kid, ya got more guts than brains.' I think old Harry might have been right."

Robertson's first performance for Columbia, "Picnic," was impressive, even though his screen pal, William Holden, stole the girl, Kim Novak. He followed with a tearjerker, "Autumn Leaves," as Joan Crawford's young husband, then a musical, "The Girl Most Likely" with Jane Powell. In 1959, he endeared himself to "Gidget" fans as The Big Kahuna, the mature Malibu surf bum who takes Gidget under his wing.

He remained a busy, versatile leading man through the '60s and '70s, but lacked the intensity of Brando, James Dean and others who brought a new style of acting to the screen.

"I'm not one of the Golden Six," he commented in 1967, referring to the top male stars of that day. "I take what's left over."

"They all know me as a great utility player. 'Good old Cliff,' they say. Someday I'd like to be in there as the starting pitcher."

The chance came with "Charly," but after the usual Oscar flurry, he resumed his utility position.

Robertson had the most success in war movies. His strong presence made him ideal for such films as "The Naked and the Dead," ''Battle of Coral Sea," ''633 Squadron," ''Up From the Beach," ''The Devil's Brigade," ''Too Late the Hero" and "Midway."

He had a passion for flying, and he poured his movie earnings into buying and restoring World War I and II planes. He even entered balloon races, including one in 1964 from the mainland to Catalina Island that ended with him being rescued from the Pacific Ocean.

In 1957, Robertson married Lemmon's ex-wife, Cynthia Stone, and they had a daughter, Stephanie, before splitting in 1960. In 1966, he married Merrill and they had a daughter, Heather. The couple divorced in 1989.

Robertson's funeral is set for Friday in East Hampton.

___

"Contagion" catches box office lead

  • Actor Matt Damon and his wife Luciana Barroso pose for a picture as they arrive at the premiere of "Contagion" in New York City September 7, 2011. REUTERS/Kena Betancur

    Actor Matt Damon and his wife Luciana Barroso pose for a picture as they arrive at …

LOS ANGELES (Reuters) - "Contagion" gripped filmgoers as the thriller about the race to contain a deadly virus took hold of the top spot at the domestic box office and knocked hit drama "The Help" to second place.

"Contagion" brought in an estimated $23.1 million at U.S. and Canadian theaters over its first three days, distributor Warner Bros. said on Sunday. Six international markets added another $2.1 million.

Directed by Steven Soderbergh, the film tells the story of a fast-spreading killer virus and scientists' efforts to stop it as the body count rises. The movie features an all-star cast that includes Matt Damon, Gwyneth Paltrow, Kate Winslet, Laurence Fishburne and Jude Law.

The film beat studio expectations by telling "a tough story in a provocative way. There is nothing more icky than this," said Jeff Goldstein, executive vice president of domestic distribution for Warner Bros.

Audiences polled by CinemaScore gave the movie a B- rating on average.

"The Help," a critics and audience favorite about black maids who speak out about white employers in civil rights-era Mississippi, slipped to second place after three straight weeks as the box-office leader. The film soaked up $8.7 million, pushing up its domestic receipts to $137.1 million since the book adaptation hit theaters five weeks ago.

"Warrior," a new drama about two brothers who battle for victory and redemption in a mixed-martial arts tournament, finished third with a disappointing $5.6 million. The brothers, a war veteran played by Tom Hardy and a high-school teacher and father played by Joel Edgerton, face wounds from the past as their estranged father, portrayed Nick Nolte, works as one of their coaches.

The film earned an A from audiences polled by CinemaScore and positive reviews from critics.

"We're going to continue to fight. The film is an underdog story and this is an underdog movie," said David Spitz, head of domestic distribution for Lionsgate, the studio that released the film.

'BUCKY LARSON' FLOPS

The No. 4 movie domestically was spy thriller "The Debt" with $4.9 million over its second weekend. Action movie "Colombiana," starring Zoe Saldana as an assassin seeking revenge, landed fifth with $4.0 million.

Comedy "Bucky Larson: Born to Be a Star" was a box-office bomb. Panned by critics, the film about a Midwestern kid who moves to Hollywood to become a porn star brought in $1.5 million in North American receipts and failed to crack the weekend's top 10. "While the movie was made on a very modest budget, it didn't work out the way we hoped," Sony spokesman Steve Elzer said.

Warner Bros., a unit of Time Warner Inc, released "Contagion." Sony Corp unit Columbia Pictures released "Colombiana" and "Bucky Larson."

"The Help" was produced by DreamWorks and distributed by Walt Disney Co.. Focus Features, a unit of Comcast Corp's Universal Pictures, released "The Debt."

Pearl Jam doc revisits career-changing drunken debacle

  • Director Cameron Crowe (L) poses with members of the band Pearl Jam, Stone Gossard (2nd L), Mike McCready (C), Matt Cameron, Eddie Vedder (2nd R), and Jeff Ament (R) of the film "Pearl Jam Twenty" during the 36th Toronto International Film Festival (TIFF) in Toronto, September 10, 2011. REUTERS/Mark Blinch

    Director Cameron Crowe (L) poses with members of the band Pearl Jam, Stone Gossard …

TORONTO (TheWrap.com) - If it wasn't for a disastrous, drunken show they performed as a favor to their friend Cameron Crowe, Pearl Jam wouldn't be the band they are today.

That was one of the lessons learned on Saturday afternoon at the Toronto International Film Festival -- where "the hottest ticket at the festival," according to doc programer Thom Powers, was to the premiere of a documentary about a rock 'n' roll band whose name does not include the letter U or the number 2.

Powers said the distinction belonged to "Pearl Jam Twenty," the Cameron Crowe-directed film that takes a 20-year emotional journey with the seminal Seattle band and its fans.

And an hour or so after the film premiered in front of a raucous audience at the Princess of Wales Theater, Crowe and the members of Pearl Jam sat for a press conference in a nearby hotel -- where the band members, who rarely speak to the media, said that "PJ20" showed them moments they'd forgotten about and provided a moving look at a band that has somehow managed to stay together and on track for two decades.

"Just trying to order pizza with five guys is hard to do," singer Eddie Vedder said, to big laughs. "To get five guys together and make music for this long is a miracle."

I moderated the panel, at which Crowe explained what he found fascinating about the band, with whom he's been friends since the mid-1980s.

"The story of Pearl Jam takes the usual rock story and turns it on its head," said Crowe. "Usually it starts out with a spark of brilliance, and then you have success, and tragedy cuts it short. Pearl Jam is tragedy surmounted, joy through survival."

Crowe and his three editors assembled the doc from hundreds of hours of concert film, home movies, backstage footage and interview segments -- the Holy Grail of which, he said, was a widely rumored but seldom-scene glimpse of Vedder and the late Kurt Cobain doing a brief but joyous slow dance together beneath the stage at the MTV Video Awards.

"The first time I saw that footage it was incredibly emotional," said Vedder, who explained that Cobain put his finger to his lips at the end of the dance, as if to shush Vedder, because they were beneath the stage where Eric Clapton was performing his ballad "Tears in Heaven."

"If he just could have pulled through," said Vedder wistfully of the Seattle icon with whom Pearl Jam had an occasionally contentious and occasionally friendly relationship. "It's a galvanizing moment, and something like that doesn't happen very often."

'BIRTH OF THE NO'

One of the key sequences in the movie, and one of the funniest of the press conference, had to do with a promotional party the band played for the 1991 release of Crowe's movie "Singles," in which the band appeared and which came out around the time that the Seattle music scene was having its commercial breakthrough.

Crowe begged the band to play the private release party in Los Angeles, which was to be filmed by MTV to give the film a commercial boost on its release. The request, he said, made him more uncomfortable than anything he'd ever asked the band to do -- and Pearl Jam responded by agreeing to play the show, but then by getting drunk before going onstage.

The resulting show included Vedder repeatedly screaming "F--- MTV!" as he staggered about the stage, ripping down draperies and berating the assembled movie executives and guests. It was, the film says, "the birth of the no" -- the point when Pearl Jam decided it was OK to stop doing everything that businesspeople wanted them to do.

I learned about that no firsthand: At the time of the "Singles" party, I'd just been assigned a Rolling Stone cover story on the band. I was in the audience watching the entire debacle -- and within a day or two of the show, I got a phone call from my editor telling me that the band was canceling the story: they'd decided they didn't want to be on the cover of Rolling Stone after all.

(They did make the cover before too long, in a story written by ... Cameron Crowe.)

"Over the years, we talked about everything," Crowe said at the press conference. "But we never talked about the 'Singles' party. I'm sure the band was thrilled when I asked them about it when we were doing interviews for this movie: 'Oh, now you finally bring it up, with the cameras rolling.'"

"Actually, I think we owe you an apology," guitarist Stone Gossard said to Crowe. "I figured you'd just say, 'Those guy are such ass----s,' and never want to have anything to do with us again."

Also at the press conference, Vedder talked passionately about his distaste for celebrity culture ("I don't know how people do it these days -- the paparazzi and all is something I can't even f---ing imagine for a second") and about his sense of wonder over the longevity the band has achieved, and the bond it has formed with its audience.

"It's just music," he said. "To have it turn into this other thing, a monument, is something."

I asked him if in a way, that wasn't always the point -- to move beyond making "just music," to something deeper.

"Yeah," he said, "but it's like catching a butterfly. You can't grab it too hard."

Banking panic and sex classic inspire film "360"

  • Screenwriter Peter Morgan arrives at the closing night screening of "Hereafter" at the 48th New York Film Festival October 10, 2010. REUTERS/Jessica Rinaldi

    Screenwriter Peter Morgan arrives at the closing night screening of "Hereafter" at …

TORONTO (Reuters) - The global financial crisis and a 111-year-old play about sexual intrigue helped inspire the latest film by "The Queen" screenwriter Peter Morgan, in which characters from different global cities find themselves interlinked by good and bad choices.

"360", which had its world debut at the Toronto International Film Festival on Friday and will open the London Film Festival in October, follows characters ranging from a Slovakian sex worker to a Brazilian photographer as they travel through places as diverse as Vienna and Denver.

While romance, infidelity and friendship are major themes, Morgan said the story sprang partly from seeing how the banking crisis of 2008 fed upon itself, with bad news from one lender or country having a domino effect on others.

"I really don't want this film ever to be thought of as a metaphor for the banking crisis, but there's no doubt that's what I was thinking of when I wrote it," he reporters in Toronto.

The film also drew inspiration from Arthur Schnitzler's "La Ronde", a play that scandalized Europe at the start of the 20th century with its frank depiction of characters moving from one sexual partner to another.

What interested Morgan was the way the fate of the play's characters intertwines and comes full circle, an increasingly relevant theme in an age of the Internet, air travel, flu pandemics and global commerce.

"I wanted to write something that reflected the post-Internet world, and the way in which we're all linked. And I thought the best way to do that was through romance and through individual choices," said Morgan, whose scripts for "The Queen" and "Frost/Nixon" were both nominated for Oscars.

The film stars Jude Law as a lonely British businessman seeking to meet an Eastern European prostitute, Rachel Weisz as a married woman having an affair with a younger man, and Anthony Hopkins as a recovering alcoholic on the hunt for his missing daughter.

For Brazilian director Fernando Meirelles, who received an Oscar nomination for directing "City of God", the challenge was holding on to the thread of the story with so many intertwining plots and characters.

"I always had this fear of how to make all this feel like one film ... I think it feels like a film, not like nine short films put together," he said.

Still, some early reviews, which compare "360" to films like "Babel", have said the ambitious structure may stretch itself too thin.

"With a starry international cast and multinational locations, you never take your eyes off the screen for a second. On the other hand, this is a cold and cerebral movie, where one's attachment to any particular character or story is tentative at best," the Hollywood Reporter said in its review.

Highbrow trumps Hollywood at Venice film festival

  • Sokurov, director of "Faust", poses for photographers as he arrives to attend the closing ceremony of the 68th Venice Film Festiva

    Sokurov, director of "Faust", poses for photographers as he arrives to attend the …

VENICE, Italy (Reuters) - Highbrow trumped Hollywood at the Venice film festival this year, with Russian director Alexander Sokurov's demanding German-language "Faust" taking top prize and Roman Polanski and George Clooney overlooked.

Most prizes at Saturday's closing ceremony went to less-than-familiar names and faces, with the exception of rising Irish star Michael Fassbender's best actor award for "Shame."

The Silver Lion for best director was awarded to China's Shangjun Cai for his gritty "People Mountain People Sea," best actress went to Hong Kong's Deanie Ip and the jury prize went to Italian immigration drama "Terraferma."

Surprisingly overlooked was Roman Polanski's "Carnage," a comedy of manners featuring a stellar cast of Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly.

Based on a play and set in real time in a single apartment, Carnage is a stinging critique of middle class mores, but also has plenty of humor including Winslet's memorable projectile vomit scene.

Polanski was not able to travel to Venice to present the movie, given the threat of extradition to the United States where he is still wanted for sentencing in a 1977 sex crime case.

"Many feel that jury head Darren Aronofsky and his compatriot Todd Haynes, both Americans, lacked the courage to give the victory to a colleague who is not liked in the U.S." said a commentary in the La Stampa newspaper.

While Venice is not a platform for blockbusters, it has proved an effective launchpad for U.S. Oscar contenders like Ang Lee's "Brokeback Mountain" and Aronofsky's own "Black Swan" and "The Wrestler."

Festival director Marco Mueller succeeded in attracting a string of A-listers to the red carpet this year after a low-key 2010, although all were bypassed when it came to the prizes.

Among the overlooked contenders was Clooney's political thriller "The Ides of March," which was well received and starred Clooney himself as a governor embroiled in scandal during an election race.

La Repubblica newspaper's headline said Clooney and Polanski had been "snubbed."

"Tinker, Tailor, Soldier, Spy," directed by Sweden's Tomas Alfredson, slipped beneath the radar despite rave reviews for its adaptation of John Le Carre's classic Cold War spy novel.

Gary Oldman shines as George Smiley and Colin Firth and John Hurt also appeared in the surprisingly digestible re-telling of a notoriously complex tale.

Faust is the fourth and final installment in Sokurov's series on corrupting power, and won praise for conjuring up a 19th century world of squalor, stench and chaos in which Faust and a mad-cap Mephistopheles play out their destinies.

Some viewers found the dialogue-heavy, German language picture that lasts well over two hours tough going.

"Taking highbrow to the edge of slapstick, Sokurov's idiosyncratic adaptation of ... Faust will intrigue some and turn off others," said Hollywood Reporter critic Deborah Young.

Faust is a less obvious fit in the series, which started in 1999 with "Moloch," about Adolf Hitler, and took in Vladimir Lenin in "Taurus" and Emperor Hirohito in "The Sun."

Outside the main competition, singer Madonna presented her second feature film as director, "W.E.," about a modern-day woman who becomes obsessed with Wallis Simpson and her love for King Edward VIII.

And Steven Soderbergh assembled an all-star cast for "Contagion," a story about the spread of disease and fear around the world featuring Gwyneth Paltrow, Marion Cotillard, Jude Law, Matt Damon and Winslet.

Brad Pitt aims for home run with "Moneyball"

  • Actor Brad Pitt of the film "Moneyball" poses during the 36th Toronto International Film Festival (TIFF) in Toronto, September 9, 2011. TIFF runs rom September 8-18. REUTERS/Mark Blinch

    Actor Brad Pitt of the film "Moneyball" poses during the 36th Toronto International …

  • Actor Brad Pitt smiles during the news conference for the film "Moneyball" at the 36th Toronto International Film Festival September 9, 2011. REUTERS/Mike Cassese

    Actor Brad Pitt smiles during the news conference for the film "Moneyball" at the …

TORONTO (Reuters) - Brad Pitt has turned to the insular world of baseball economics for his latest movie and yet the Hollywood heavyweight is a relative rookie in terms of obsessing over one of America's great pastimes.

The A-list actor is one of the top draws this week at the Toronto International Film Festival for the launch of his new drama, "Moneyball." He plays Billy Beane, the real-life general manager of Major League Baseball's Oakland A's, who is famed for reinventing the game by running a competitive team in a cost-effective way.

Pitt told Reuters that he learned to appreciate the nuances and complexities of the game while making the movie, helped by several meetings with 49-year-old Beane, but he is not your typical baseball fanatic.

"It's shameful how little I know about baseball, but what I know about it, I got -- it was a pop fly in the fourth grade -- 18 stitches," he told Reuters, referring to getting hit by ball when he was just a kid, opening a flesh wound.

"I find it really tranquil when it is on (TV) in the background now...There is a reason why it has become our national pastime. It's a team sport yet at the same time it is an individual battle."

The film's creators want movie audiences to see that "Moneyball" is not just another tale in the vein of "The Natural," "Major league" or other baseball films that have become ubiquitous in U.S. theaters.

They are banking on Pitt, 47, to transform Beane's use of bland statistics and mathematical tables into entertaining movie fare. And for that, they've tailored the story of the Oakland A's into a tale of beating the odds.

"We are always looking for undercurrents in films, what is going on underneath it," Pitt said, adding that "Moneyball" is "much more than a baseball film" and more of "an underdog story. You have a justice story."

AN UNDERDOG'S TALE

The film with a budget of $47 million was adapted by Steven Zaillian and Aaron Sorkin, the Oscar-winning screenwriter of "The Social Network," from the Michael Lewis book "Moneyball: The Art of Winning an Unfair Game.

It begins with Beane coming off a highly successful 2001 season where the small market A's lost baseball stars including Jason Giambi and Johnny Damon to big city teams with lots of money such as the New York Yankees and Boston Red Sox.

Beane recruits an unathletic Yale graduate, Peter Brand (played by Jonah Hill), and the unlikely duo push a novel approach of using statistics to scout players who will create a competitive team at far less cost.

It may seem like inside baseball to some, but Pitt and Hill said the story of Beane and Brand should appeal broadly to moviegoers who aren't necessarily fans of the game.

Hill said he showed it to friends "who couldn't care less about baseball and they all adored it...It is really about values and underdogs and life choices."

Pitt believes that, statistics aside, the spontaneity of the game which lures fans to ballparks isn't lost in the film.

"These guys apply science to it and yet the magical happens when you least expect it, which was true for their season," he said. "It's a magical game, no question."

Early reviews have been generally favorable. The Hollywood Reporter said the movie "looks good perhaps not for a home run but certainly a long double or even an exciting scoot around the bases for a head-first triple."

Daily Variety compared it to Sorkin's "Social Network," saying "the story isn't as electrifying. 'The Social Network' was about a highly unusual alpha dog; Moneyball is the story of a highly unusual underdog. No one remakes the world here. But someone does remake the grand old American game of baseball."

George Cloooney's says dirty politics are nothing new

  • Actors Evan Rachel Wood (L) and George Clooney attend a news conference for the film "The Ides of March" at the 36th Toronto International Film Festival in Toronto September 9, 2011. REUTERS/Fred Thornhill

    Actors Evan Rachel Wood (L) and George Clooney attend a news conference for the film …

LOS ANGELES (TheWrap.com) - If you think today's political landscape is unusually brutal and dirty, George Clooney has a history lesson for you: It was just as bad 200 years ago.

"I think it's cyclical, and we're at a period of time that is probably not the best for politics," said Clooney at a Toronto International Film Festival press conference for "The Ides of March," a smart and cynical drama that he directed and in which he plays a charismatic presidential candidate.

"But if you look at the things Jefferson and Adams did to each other, that wasn't very nice either. The 1800 election was nasty, too. It's cyclical."

A week after claiming the crown as the king of the Telluride Film Festival, Clooney brought his charm at a Toronto press conference that preceded his film's gala screening by a few hours.

Although he was joined by co-writer Grant Heslov and by actors Ryan Gosling, Philip Seymour Hoffman, Paul Giamatti, Marisa Tomei, Evan Rachel Wood, Jeffrey Wright and Max Minghella, about 80 percent of the questions were directed at Clooney -- and a good portion of the ones that weren't aimed his way were variations on the query, "How great was it to work with George?"

Ryan Gosling, who has the film's central role as a young, rising campaign strategist, had the best (and most clearly insincere) answer: "It was like watching a unicorn being born!"

While a good many questions were political in nature, Clooney kept things light and insisted that his film does not have a political agenda. (His character espouses many liberal ideas that one would expect Clooney to share, but is also revealed to hardly be a paragon of integrity.)

"I don't think that this was really a political film," Clooney said. "I think this is a film about moral choice … I thought it was a fun moral tale, and if you put it in politics that amps up all the fun.

"If it's reflecting some of the cynicism we feel today about politics, that's probably good," he added. "We should be looking at things. But it wasn't designed to do that.

"Everybody makes moral choices that better themselves and hurt others along the way. That's universal, not just to politics. This could have been set on Wall Street. Actually, it would have been easier to do it on Wall Street."

As for the politician he plays, Clooney declined to specify any particular role models.

"There's just so many ways to get in trouble with this answer," he said. "There were enough examples that we just picked little pieces of whatever we wanted."

Jeffrey Wright, who was raised in Washington, D.C., agreed with Clooney's description of the film as more moral than political: at its heart, he said, he thinks of it as "more of a gangster film."

When a Canadian reporter asked Gosling, who was born and raised in Ontario, if a similar film could be made about Canadian politics, the actor frowned. "I think it'd be more … " He stopped. "No. The Canadian version would be too nice."

Paul Giamatti, who plays a glowering rival campaign strategist, took umbrage at this. "It wouldn't, actually," he insisted. "It'd probably be as dirty as America. You people are filthy up here. I think it's time to blow the lid off Canadian politics!"

Of course, the Q&A wasn't all about politics. Because it was Clooney, some questioners appeared a little starstruck: one woman's "question" was "Tell me: George Clooney, film director."

"Tell you what?" asked Clooney. "I don't want to blow anybody's mind, but I'm pretty much the same guy as George Clooney the actor. Same height. Same hair."

He paused. "I don't know what you want me to say about it."

Through the actors, we learned about director Clooney's practical jokes -- having an intense conversation about the film with Gosling while surreptitiously spraying his leading man's crotch from a water bottle -- and about his method of empowering actors.

"He would tell me, 'You have the most power in this scene,'" remembered Marisa Tomei, who plays a New York Times reporter. "I'd think, I have the most power in the scene?"

Clooney grinned. "I told everybody that," he said.

For Clooney, "Ides" is only the first of his two-part Toronto domination plan: the TIFF premiere of "The Descendants," the film that wowed Telluride, is coming up this weekend.

Wednesday, September 7, 2011

Adopt films nabs documentary as first acquisition

NEW YORK (TheWrap.com) - Adopt Films, a new independent distribution company formed by October Films co-founder Jeff Lipsky and former exhibitor Tim Grady, have announced their first acquisition, the award-winning documentary "The Ballad of Genesis and Lady Jaye."

The company plans to release French-American filmmaker Marie Losier's film in the U.S. in the first quarter of 2012.

Adopt Films, which will be based in New York, plans to acquire independent English-language films, both narrative and documentary, as well as foreign language films.

"I truly feel this might be the single best time to launch a new independent distribution company since Bingham Ray and I plotted out October in my then-living room in Sherman Oaks in 1990," said Lipsky. "Our focus at Adopt will be on films that have theatrical potential, first and foremost. I'm not a glass half-full kind of guy about the ongoing potential theatrical audience for independent films, I'm a glass three-quarters-full kind of guy."

He said he hoped Adopt's first releases would be as eclectic and high profile as such early October films as "Adam's Rib," "The Tune," and "Tous les matins du monde."

"Adopt will be in a better position to fully exploit our films in all media because we'll have fully exploited each film's table-setting theatrical rights first," Grady added.

Added Losier: "I am so happy to have met a ball of energy, ready to put all their talent, passion and dreams into my first feature film! This is going to be a wonderful adventure and a precious honor to be the first Adopt Films release."

Lipsky and Grady negotiated the deal with Losier and her producing and business partners Steve Holmgren and Martin Marquet. The film tells the story of a love affair between British musician and artist Genesis Breyer P-Orridge, founder of industrial bands COUM Transmissions, Throbbing Gristle and Psychic TV, and New York performance artist Lady Jaye (Jacqueline Breyer).

The film premiered at this year's Berlin Film Festival, where it won the prestigious Teddy and Caligari Awards. It was an official selection at this year's South by Southwest (SXSW), Tribeca, Hot Docs (Toronto), and San Francisco International Film Festivals.

Lipsky began his distribution career with "A Woman Under the Influence," working with his mentor, John Cassavetes. He was an executive at New Yorker Films, Samuel Goldwyn Films, and Skouras Pictures.

He is also a filmmaker, whose films include "Twelve Thirty," "Childhood's End," and the 2006 Sundance Film Festival Dramatic Competition selection "Flannel Pajamas."