One Life To Live Head Writer, Key Cast Members On Board For Online Launch

Prospect Park has been busy securing talent in front of and behind the camera for its relaunch of One Life To Live, which it acquired with All My Children after the soaps were given the boot by ABC Daytime. It also has given its online network a name. All of the deals are pending WGA agreement, which is expected, but the company is being careful not to ruffle any guild feathers on the matter. Here’s the release: LOS ANGELES, CA September 30, 2011 Below is a statement from THE Online Network (TOLN) regarding One Life to Live. Rich Frank and Jeff Kwatinetz of TOLN have confirmed today that a deal is in place for One Life to Live Emmy-winning Head Writer and Consulting Producer Ron Carlivati, subject to a WGA agreement, to continue with the show when it moves online at the beginning of next year. Carlivati has been with the show since 1996 and a head writer since 2007. Pending a final agreement with AFTRA, additional deals are in place for cast members Melissa Archer (Natalie Buchanan Banks), Kelley Missal (Danielle Rayburn), Sean Ringgold (Shaun Evans), Andrew Trischitta (Jack Manning) and Jerry VerDorn (Clint Buchanan) to join previously announced cast including Ted King, Michael Easton, Kassie DePaiva and Erika Slezak.

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Paula Abdul Still Disgusted Over X-Rated X Factor Audition

La, Calif. -- Paula Abdul am turned off by Dallas The X Factor contestant Geo Godley eliminating his pants on stage they left the arena and nearly set up, and he or she ongoing to blast the 43-year-old internet blogger on Thursday. I used to be to start with shocked, disgusted, upset [and] concerned for your youthful kids that have been inside the audience in addition to their [families] that required to escort them in the arena, Paula told Access Hollywood throughout an X Factor marketing appearance in NY City on Thursday morning. It absolutely was completely inappropriate, and as you have seen, a little delusional of him to state I have another song. The fact he thought that it may be OK to accomplish that's just rather disgusting. Paula was grateful for your 12.5 million audiences that up-to-date into her new FOX reality singing competition, around 3 million greater than up-to-date looking for the debut of yank Idol. Its a blessing, its a blessing to sign up a show and Ive been fortunate additionally to Simon [Cowell] being on day one of yank Idol, and spent almost 10 years with this particular success now its once more with day one as well as the jitters as well as the excitement, she mentioned. Its thrilling. When Simon was marketing his new show, he told The Hollywood Reporter hed be disappointed once the X Factor didnt generate 20 million audiences, plus it fell short by almost 7.5 million. He mentioned that? Paula asked for, when Access repeated Simons first statement. God, essentially only had, some his confidence he projects available. Simon later told Access Hollywood, as his X Factor press campaign ongoing, he wanted hundreds of an incredible number of in ratings, the program exceeded. The X Factor returns tonight at 8/7 C on FOX. Copyright 2011 by NBC Universal, Corporation. All rights reserved.These elements is probably not launched, broadcast, rewritten or redistributed.

Viacom Shares Lower After Lighter-Than-Expected Ad Forecast

Boss Philippe Dauman told the Goldman Sachs Communicopia conference that Viacom will dsicover “high-single-digit” rise in ad sales in our quarter. Thatput a scare into traders who anticipated double-digit growth. Viacom’s lower about 6.5% in mid-daytrading, while watching benchmark Standard & Poor’s 500, that's off about 3%. Dauman tried to cast a flattering light round the situation:”Despite the macroeconomic mind lines, a bad tone in the advertising market remains strong,” he mentioned. Particularly, according to him that Viacom has held onto orders created within the upfront market while scatter pricing is “in the teens above upfront. … We'd an excellent quarter, and subsequently quarter looks good.” More youthful crowd mentioned he's seen no weakness in probably the most important ad-sales groups for Viacom’scable systems including auto, toys, andmovies. The overseas situation is mixed: “Some (areas) are strong and several are weakened.” Although acknowledging the marketplace changes while using economy,as Viacom’s”new shows begin working, we've positive momentum.” Dauman also states he’s advised by potential options to promote licensed merchandise, especially aroundcharacters on Nickelodeon.”We’ve aligned our consumer products organization while using creative organization as well as the marketing organization. We’ve employed new players — many of them came from from Disney — for that worldwide” sales methods. Dauman adds the process meshes with Vital growing effort to produce animated films. At Vital, Dauman states his goal is always to “de-risk the organization” making it more profitable. The business has reduced its slate from around 30 films yearly close to 15 — with a lot of devoted to “our franchises and brands” including Transformers, Mission: Impossible and Star Trek.”We’re very disciplined inside our greenlighting process,”he states.

New York Photographers on What Makes an Effective Headshot

The old adage about a picture being worth a thousand words is especially true when it comes to actors' headshots. This one photo is supposed to convey your personality, your age range, your ability to work well with others, and dozens of other elements that will influence a casting director's decision to bring you in for an audition. How do you and your photographer capture all that information in a single image? What combination of lighting, wardrobe, and spontaneity will produce the best result? To get the answers to these vital questions, we asked photographers in Los Angeles and NY to send us two outstanding examples of their workone of a man and one of a womanalong with a brief explanation of why they think these particular pictures are successful in "selling" their subjects. Their responses, along with the photos, are on the following pages. (Photos by Liam Alexander) Liam Alexander The most important thing is that your headshot look like you. When actors submit for a project, casting directors are looking at a sea of little pictures on a website and putting a check next to the ones that look like what they want. So the lighting must be clear, and the photo must read at a small size, look exactly like you when you walk in the door, and look like your type.For Eric's outdoor shot, he's unshaven, looking a little rough, with a more tousled "hit me up" look. This is what they see, and this is exactly what they get when he walks in.For Leigh, this shot is simple but successful. Women have to remember that being mature isn't bad; it's how you wear it. I love this shot of Leigh because she reads as a mature woman but with a great youthful energy. You want her to come to the casting just to brighten your day. Nobody wants to see a dead body on TV, and people want to see that you're proud of who you are and comfortable in your skin. And she really shines in this picture. (Photos by Jinsey Dauk) Jinsey Dauk It's all in the eyes! Here in their headshots, actors Rhonda Jensen and Miguel Perez are both open, approachable, warm, and engaging. They emit a spirit, a personality, and a feeling. That's exactly what you want in a headshotyou want the casting director to feel all that. Because I shoot with natural light and not flash, it's easy for clients to feel more natural themselves; they are spontaneous and being, not posing. Their eyes are alive. Casting directors and agents like this because not only do the actors look like their headshots, but the CDs and agents get a sense of communication and honesty.Regarding the background, I always keep it out of focus to help the subjects become more three-dimensional, as if they're jumping off the page. Regarding the clothing, I prefer that we keep the shot simple by going with mostly solid-colored clothing. That makes the eyes the most important thing in the shot. People feel they almost know these actors just by looking into their eyes. That's the kind of connection to strive for in a headshot. (Photos by Rod Goodman) Rod Goodman What makes the headshot of Jarvia Udosen successful is her warm eye contact and smile. This is also a good example of a three-quarter shot that works, because this young lady has a full face and, in showing some of her body, we are able to see that she is in good shape. We may not get that with a tighter headshot.John Buxton's headshot is successful because he has layers to the emotions he's conveying. The muscles of his face and mouth are relaxed and he has great eye contact. If you saw either of these actors in person, you would see that they look just like their headshots. (Photos by Joe Henson) Joe Henson The best headshots are a perfect mix of aesthetics and useful information. To attract the viewer's attention, a headshot must be compelling and attractive to look at, a magnetic combination of composition, lighting, color, and personality. I want all of my headshots to look great, even upside down. Once you have the viewer's attention, a great headshot must define and clarify the elements of an actor's presence that define the character types best suited to that actor.My photo of Will Lyman reflects his intensity, strength, and sensitivity. He is raw and direct. He can play powerful characters with depth. My photo of Susannah Hoffman is as striking as her beauty and reflects her playful, romantic-lead intelligence. She can easily be seen as the lead female in the relationship. My job is to take away the guesswork and reveal the truth in a visually compelling way. (Photos by Jason Homa) Jason Homa Erin Lamey is classic beauty. Putting her in this simple studio environment places all the focus on her. Her features really stand out and her beauty shines. But what one really sees is the intensity and depth in her eyes, the confidence she has, her presence, and the attention she can command from an audience. We know she can be soft and emotional or a strong leading lady. This photo is captivating and really holds the viewer's attention. It's certainly not going to get overlooked or passed by, even in a stack of 100 headshots on a casting director's desk.From his shot, we know that Esdras Toussaint is a powerful leading man and leans toward serious dramatic roles. From the thought we can read in his eyes, the slight smile, we get a sense of the subtleties of his emotional range. But in this seemingly simple shot of him on the street, we also know he's approachable. We get a strong sense of who he is. (Photos by Peter Hurley) Peter Hurley I took this headshot of Casey Bond, and what I really wanted to capture was his charm. In this shot in particular, he has a great connection to the camera and an inviting expression that draws the onlooker into the shot. In order to create the kinds of expressions that stand out when casting directors flip through headshots, you need to engage the three things we use on our face to communicate: mouth, eyes, and eyebrows. Casey did a great job of meshing the three together to show off a touch of his personality.Each time I look at this photo of Adepero Oduye, a smile comes to my face. Her smile is so infectious and genuine, as is her personality, and I firmly believe that a photographer could never accomplish this by asking the subject to smile. Yes, I know that's a strange thing for most to hear, but in my studio I create an atmosphere that is fun in order to pull natural smiles out of my clients that give you a feeling when you see them. I can't wait to see where Adepero's career is headed and am glad this headshot has helped her along the way.Note: Peter Hurley also has a studio in Los Angeles. (Photos by Jimmi Kilduff) Jimmi Kilduff Stephanie was ready to make the transition from theater to film and TV and wanted a shot that would help her accomplish that goal. The horizontal framing, defocused sunset in the background, and contrast of the oranges and yellows with her blue shirt and eyes make the shot "pop" and help to create a more cinematic feel. Her open, confident expression and natural beauty combined with these cinematic elements create a headshot that speaks directly to film and TV casting directors, showing them she is able to step into a dynamically framed shot and become the missing piece that brings it together, making it memorable.Michael, a confident and easygoing "young leading man," needed a shot for both musical theater and film. Framed at just below the sternum and cutting off the shoulders slightly, this shot accentuates his tall, broad frame and gives him the physical appearance of a young leading man. His slightly tilted head, his boyish smile, and the highlights on his jaw line enhance this impression while maintaining the ease of his personality. Because there is enough of his body to give a clear impression of his physicality while the shot is framed close enough to display the expressive qualities of his face, this headshot can be used for either theater or film. (Photos by Kendall Pettygrove) Kendall Pettygrove This headshot captures Kathleen's inner softness and ease, and yet she reads as a professional and someone that you'd like to work with. Her unique physical attributes include a leonine mane (which is captured without taming it or having it overwhelm her face), charming freckles, amazing dimples, andlast but most important for a commercial shota gorgeous, natural smile. I think this headshot covers all that an 8-by-10 can demonstrate. I wouldn't hesitate to call her in if I were a casting director, as I would feel I knew a lot about her already.Rob's agent wanted a shot that she could submit to show his more serious professional sidehis "Law & Order" shot, we joked. This shot highlights his overall good looks, intensity, and intelligence. He could easily be seen as a lawyer, doctor, detective, husband, white-collar criminal, businessman, etc. So the shot satisfies the agent's request while also showing Rob's versatility. Additionally, there is a playfulness and accessibility to his humanity under that smoldering professionalism. This pic says, "He could handle all aspects of a serious professional, from hero to criminal." (Photos by John Quilty) John Quilty I find Georgia Engel's headshot successful because it presents Georgia in a manner that is familiar to her fans and audiences while representing her look and style in 2011. She appears as the ultimate professional, yet accessible and friendly. Rob Gallagher's headshot reflects the actor's ability to project confidence and the charm of a leading man. His Broadway career demands a headshot that is classic in its dual ability to be used for casting and publication in Playbills and concert programs. (Photos by Susan Shacter) Susan Shacter The woman's photo is simple, clean, pared down, with no distractions. She is fresh, alive, and touchable. The first thing you see is a healthy, beautiful woman. You don't really notice the makeup, hair, or clothes. You want to know who she is. In the man's photo, everything in the image points to his eyes. They grab hold of you and pull you in. His skin is free of makeup; it's alive and touchable. You want to know him. (Photos by James Shubinski) James Shubinski I believe that, of course, a headshot must be a completely accurate visual representation of the actor, but it is also essential to identify an actor's unique qualities and make them stand out in a very competitive marketplace. I do a planning session before every shoot, which includes exercises to identify how the actor is perceived and how the actor views him- or herself, and we use the results to plan every detail of the shoot. Once we're shooting, I do whatever it takes to make the actor feel relaxed, comfortable, and safe.Amber Swenson has that wholesome "Ivory girl" quality. But she is also strong, frank, ambitious, defiant, and sexy. This look was put together to show a sexy, smart, fun, strong, confident woman who could drink you under the table after she mopped the floor with you in court that day and will rock your world later that night. But you could still bring her home to mom.Chris Nunez is fresh out of acting school. He is controlled, wise, searching, and driven, with access to a dark, moody, passionate undercurrent. Our goal for this look was to show a strong young man a step away from childhood innocence, who is willing to take on any challenge to get what he wants. (Photos by Hayley Sparks) Hayley Sparks The headshot of Jon Hamm works because you get a sense of how smart and magnetic he is, and it has integrity. The headshot of Maya Ferrera is successful because we captured a beautiful, natural smile and you can feel her charm, confidence, and joy.I use natural light, which gives depth and context to the space and allows for shallow depth of field to bring focus to the eyes and beautiful light on the face. My angle of shooting and style empower the actor. It is my job to help the actor relax and connect and to capture the moment in which he or she is really smiling or feeling centered and confident. (Photos by Gabrielle Stubbert) Gabrielle Stubbert (Raw Photos) Very few people I have metincluding actorslike to get their pictures taken. This is pretty comical, especially when you consider that the business you are in involves getting up in front of an audience and giving them an experience, touching their heart in a way that makes them fall in "love" with you. The same applies to your pictures. You are trying to get the casting director's attention. All the photographers will tell you, "You need a picture that jumps out and says something about you." Well, yes, but what you want every time, whether it's your picture or your audition, is for them to fall in love with you.We all have something about us that is lovable. Is it your sense of humor, your warmth, your sense of honor, your loyalty? Really sit down and think about your best qualities. And by that I mean your qualities, not the ones you want to emulate. What is it about you that makes you lovable? Take some time to think about this and then practice in a mirror or with your iPhone or a video camera. Come prepared knowing who you are. Then take the picture. (Photos by Blu Toth) Blu Toth (Bluface Photography) I think the most important thing about a good headshot is that it really has to look like you and represent you the best possible way. There is nothing more interesting than the real you. My work is a significant factor in getting my actors a foot in the door where once they could not enter. At Bluface, I want actors to feel completely safe and able to be themselves, not playing a character. A comfort level with the viewer must be established at a glance. If an actor presents a picture of him- or herself playing a character or expressing a specific style, it can be limiting. But if an actor shows openness and honesty, the result will be callbacks and castings.The picture of Malaika Mqulo is one of my favorites because of its honesty, charm, and depth. You are drawn to her smile, both in the expression in her eyes and in her compelling smile. The picture of Ken Zwerin shows that the eyes truly are the mirror of one's soul. Notice how open, warm, and interesting he looks. His eyes show strength and vulnerability at a glance.

Double Toronto TOLDJA! Lionsgate Certifies Pals With Kids Deal

Deadline revealed through the festival that Lionsgate was bearing lower around the deal to produce the Jennifer Westfeldt-directed comedy Pals With Kids, along with Kerbside Sights in the deal created by Cinetic and Red-colored-colored Granite. Lionsgate just launched the news release: SANTA MONICA, CA (September 21, 2011) – LIONSGATE (New you are able to stock market: LGF), a respected global entertainment company today introduced purchasing Red-colored-colored Granite Pictures Pals WITH KIDS, directed by Jennifer Westfeldt, following its debut tests within the 2011 Toronto Worldwide Film Festival. The announcement is created with each other by Steve Beeks, Lionsgates Leader and co-COO, Joe Drake, co-COO and Film Group Leader, and Jason Constantine, Leader of Purchases and Co-Productions. The release will probably be handled with each other by Lionsgate and partner company Kerbside Sights, similar to past collaborations for instance EVERYTHING MUST GO, as well as the approaching MARGIN CALL, with Kerbside Sights spearheading domestic theatrical distribution and Lionsgate handling other U.S. rights including home theatre and tv. Riza Aziz and Joey McFarlands Red-colored-colored Granite Pictures produced the film with Jennifer Westfeldt and Jon Hamms Points West Pictures, producer Mike Kasdan, and Locomotive, introduced by Joshua Astrachan and Lucy Barzun Donnelly. Red-colored-colored Granite may also be handling worldwide sales. The film is Westfeldts directorial debut, carrying out a two considerably acclaimed independent films they formerly written and starred in, KISSING JESSICA STEIN and IRA & ABBY. Pals WITH KIDS boasts an ensemble cast of beloved stars with palpable chemistry, lots of whom have came out onscreen together previously collaborations: Adam Scott, Jennifer Westfeldt, Jon Hamm, Kristen Wiig, Maya Rudolph, Chris ODowd, Megan Fox and Edward Burns. The film was broadly considered anyone to watch heading into the 2011 Toronto Worldwide Film Festival, and was cordially received by experts and audiences alike upon screening there. “I feel incredibly fortunate being coping with the fantastic teams at Lionsgate and Kerbside Sights round the relieve Pals WITH KIDS, mentioned Westfeldt. Their desire for the project as well as the written content, along with their persistence for obtaining a broad audience for that film, make certain those are the dream partners for people.” Jason Constantine, Lionsgates Leader of Purchases and Co-Productions, proven Westfeldts sentiments: We are very very long time enthusiasts of Jennifer, and this can be a great directorial debut. Shes developed a high concept comedy that completely entertains since it explores among this decades central quandaries, and everyone round the Lionsgate and Kerbside teams who saw the film connected by using it not just as professionals, but being a parent or partners. This movie has comedy, heart and truth in equal measures, and will also be described as a delight to produce to audiences. Red-colored-colored Granites Riza Aziz and Joey McFarland pointed out, “The teams at Lionsgate and Kerbside really understand why film which we couldn’t be excited to remain in business together. They are completely dedicated to the first vision Jennifer Westfeldt has for Pals WITH KIDS. We supported Jennifer which vision at first, and so are happy using the finish product and very happy to have labored alongside this kind of great team on our debut film. Constantine talked about the sale regarding Lionsgate with Eda Kowan, SVP of Purchases and Co-Productions, and Wendy Jaffe, the Purchases and Co-Production teams EVP of economic & Legal Matters. Cinetics John Sloss and Jackie Eckhouse of Sloss Eckhouse LawCo talked about the acquisition regarding the filmmakers. Jennifer Westfeldt is represented by Christian Donatelli and Courtney Kivowitz within the Schiff Company, Innovative and Lawrence Rose at Gang, Tyre, Ramer & Brown.

Avatar Theme Park Deal Wont Inflate Disney Costs, CFO States

Disney’s lately introduced Avatar theme park attraction is”a perfect example of something which might be a needle mover” for that organization’s parks operation, CFO Jay Rasulo mentioned today within the Goldman Sachs Communicipia Conference. The arrangement with Fox and director James Cameron is “a standard licening deal”that doesn’t provide them with some of ticket sales –but does share revenue from merchandise. Rasulo adds the initiative likely won’t”stick out llike an aching thumb” in Disney’s costs:”We just won’t take action else we'd do” at Animal Kingdom. After next season”there is really a significant decline inside the capital we purchase our parks” getting Disney “relatively closer to our historic level of trading.” That’s crucial that you pros who fear that construction and investment costs will hurt earnings. “We anticipate your entire day when people say ‘you’re back’ and don’t request that question any more.”

Charlie Sheen Roast-Mortem: Jeffrey Ross Live In the Actor's House (Exclusive)

Because I'm a comedian, Sometimes nights and rarely view television. However, last evening I tried the most popular sitcom 2 . 5 Males for the first time. Just in case you haven't heard, this specific episode incorporated the untimely dying from the lead character with a moving train and also the subsequent introduction of the new lead performed through the handsome youthful superstar, Ashton "JesusInch Kutcher. Sitting with me at night offering running commentary while chain smoking was the actor Charlie Sheen, who its possible you've heard, accustomed to bring in 1.8 million each week because the original star of this show before he got fired for acting just like a schmuck.our editor recommendsCharlie Sheen Roast Deliberately Scheduled to defend myself against Ashton Kutchers Males Debut 'Two . 5 Men's' Holland Taylor Will not Roast Charlie SheenCharlie Sheen Embarks on Publish-Roast Publicity TourCharlie Sheen Roast Provides Huge Amounts for Comedy CentralCharlie Sheen Gives Exclusive Publish-Roast Interview to Wendy Williams And So I really was surprised when Charlie asked me to watch the growing season premiere of his old show then the planet premiere of his Comedy Central roast. No more than per week earlier I'd was in a podium outfitted as Colonel Gaddafi and fired off a barrage of insults to his face, like: "Charlie, should you're 'winning,' than the mustn't be considered a child custody of the children hearing." And, "The only real time your children reach help you is within re-runs. Don't you need to live to determine them place their first twelve steps?" PHOTOS: Charlie Sheen's Colorful Career Now, I've roasting some badasses before, but none of them have ever requested the roaster to their property to look at the edited broadcast. Usually if your celebrity selects to re-live this onslaught of putdowns, they are doing it encircled only by next of kin and perhaps an organization of psychiatrists. In the end, hearing the meanest comics in the united states the cruelest things they are able to think about at the expense is difficult to pass through even once -- why experience again it within the comfort of your private screening room? But once more, Charlie proves he's different. Actually, per week earlier in a pre-roast dinner, Charlie themself was up and declared no subject to become not allowed. Clearly this can be a guy who loves to play rough. PHOTOS: Ashton Kutcher's Career Over time I acquired some understanding of Charlie's personality after i turned up throughout the final leg of his My Violent Torpedo Of Truth: Defeat Isn't A Choice tour. Once the crowd began booing and screaming for refunds, I'd go out inside a hazmat suit because I "heard there is a explosive device scare." Then, a podium would unveil and that i would go to roast Charlie for pretending to become a real comedian. "Folks, Charlie Sheen would be to stand-up what Ray Flynt would be to standing" "2 . 5 males seemed to be the quantity of people left within the theater after intermission" "Even Bernie Madoff saw your show and requested his money-back.Inch Used to do this in eight different metropolitan areas and also got meaner in each one of these. Charlie required it just like a champion. He might not have "Adonis DNA," but he certainly has skin thicker than an elephant. PHOTOS: Charlie Sheen Tour So people request me: "Is he really that crazy?" Yes, In my opinion he's. He's definitely not above getting three tour buses along with a Polk police escort pull at four am if he wants a pop-sicle. I'm also able to tell you just how like his character in Wall Street, he's enthusiastic about making and investing grotesque levels of money. Aside from his kids and baseball, cash is Charlie's existence. Collecting old watches and youthful women could be pricey. Therefore the very concept of watching him eat the sight of some pretty boy trampling through his TV house and taking having his real-existence salary was both painful and fascinating to witness. VIDEOS: Charlie Sheen's Craziest TV Interviews So here's the way it all went lower: everybody collected before a set screen in Charlie's family room. He was encircled by old pals and recent roasters because the opening sequence of 2 . 5 Males started. I was all just a little tense as Jon Cryer was before Charlie's bowling shirt and offered up a eulogy for Charlie's character, named Charlie. The funeral scene incorporated cameos with a bevy of lovely stars who had described Charlie's love interests through the years. As each lady spoke, Charlie nodded her head subtly to themself, as though checking off their names on the "need 'em, got 'em" record. A short walk-on by my friend John Stamos appeared to consider Charlie unexpectedly, but performed well around all -- particularly when Stamos accepted to getting gay sex with Charlie. It's similar to the roast had began. Charlie appeared truly thrilled to determine Holland Taylor and Angus T. Johnson striking their zingers like old occasions. At some point Charlie smiled fondly and mumbled something a good "epic line reading through" from his TV mother. Charlie chuckled in the better jokes and folded his eyes in a fart joke. I observed there is a wide open just right the couch alongside Charlie and so i snapped up it. I whispered, "How can you feel?" "Odd," he clarified. Moments later it got even odder when Jon Cryer started speaking for an urn filled with Charlie's ashes. "Oy, this really is morbid," I blurted out. Charlie checked out me to make certain I wasn't kidding. "Yes, very fucking morbid," he stated. I have to admit I didn't really pay an excessive amount of focus on Ashton's large entrance, because I couldn't take my eyes off Charlie. I believed any second he'd lunge in the TV or stab somebody having a fork. However I heard the laugh Ashton got and Charlie appeared impressed. "Wow. They gave him a fucking entrance just like a movie", he told us. I suppose Charlie figured when he needed to get changed -- better to be completed in a large way with a good guy. VIDEO: Charlie Sheen Roast: 10 Things Been sent in the Comedy Central Event Because the episode's credits folded away, I saw Charlie breathe deeply. He looked almost relieved. As though he privately recognized this evening was some kind of public punishment for his erratic and frightening behavior in the last year. Possibly it's a small cost to cover all of the fun he's been on his existence. His subdued interviews with Jay Leno and Matt Lauer a week ago were referred to as "contrite." I additionally heard similar sentiments about his surprise appearance on Sunday evening's Emmy Honours. Several Charlie supporter lamented in my experience why he submissively wanted the cast and crew of Two & One Half Males an excellent season without him -- rather than while using chance to land a large joke and prove why he used to be the greatest compensated and many popular guy around the boob tube. PHOTOS: Charlie Sheen's Crazy Twit Photos When I sitting there in the sprawling mansion eating my third helping of lobster ravioli, I really began to have a pity party for that guy. Things I always found interesting about him was he never apologized for his lifestyle. He's the main one celebrity who screwed up his existence and career -- but still declined to take the The famous host oprah apology tour and beg for forgiveness. Now he all of a sudden appeared inside a headspace approximately docile and brain dead. I immediately considered the tall quiet Native-American "Chief" in one Travelled Within The Cuckoo's Nest and scanned Charlie's temples for any lobotomy scar. "I saw Charlie breathe deeply. He looked almost relieved. As though he privately recognized this evening was some kind of public punishment for his erratic and frightening behavior in the last year." As though watching his show continue without him wasn't torture enough... Charlie's very long time assistant Ron transformed the funnel since the comedy part of the evening was going to start. Charlie moved into his screening room and parked themself inside a dark corner. My fellow roasters Jon Lovitz, Steve-O, and Kate Walsh adopted him in and sitting among Charlie's buddies and all sorts of the very best people at Comedy Central. All of us smiled broadly as Roastmaster Seth Macfarlane introduced an uplifting and funny montage of Charlie's film and TV work. This roast wasn't any lifetime achievement award, however it was still being nice to become reminded how gifted Sheen is prior to the barbs began flying. Even Charlie was smiling when he saw themself like a youthful crew-cutted recruit within the Oscar-winning film, Platoon. STORY: Charlie Sheen-Less 'Two . 5 Males': Exactly what the Experts Say Macfarlane continued to see Charlie's anticipated obituary. Jon Lovitz told the crowd that Charlie did enough coke to "kill 2 . 5 males." However, it had been the classy dramatic actress Kate Walsh who had been the very first roaster to say Charlie's kids throughout her performance also it appeared hitting Charlie even harder now of computer did in the live show. She stated, "Guess what happens's amazing? Despite all individuals many years of mistreating your lung area, your kidney, your liver... the only real factor you've had removed is the kids." Charlie on the watch's screen and Charlie personally both mouthed the term "Wow" simultaneously. Throughout the commercial break, Lovitz decreased the television volume and so i could request Charlie if he was okay. "Terrific. This really is totally awesome," he deadpanned. PHOTO: and Charlie Sheen Bond Backstage at Emmys The evening only got harder after that. It had been my use pound him about his tour, his whores, his movies, his nostrils, and the ex-spouses "... And That I begin to see the lovely Brooke Mueller is here now tonight. She's not so vibrant -- unless of course Charlie is tossing a light at her." Too early? Nah. Too real? Most likely. After me, came dirty poetry written by michael Tyson, libelous jokes from Anthony Jeselnick, brave and sexy jaw-droppers from Amy Schumer, tough love from Steve-O, fatherly advice from William Shatner, along with a scathing cleanup place from professional race riot, Patrice O'Neal. As each roaster finished, they were given a large round of applause from Charlie. Still, he appeared to laugh the toughest at their own rebuttal. As though he couldn't believe he was avoiding with this particular insane victory speech. Ultimately, he declared around the world, "I'm completed with the 'winning,' because I've already won. This roast might be over, however i'm Charlie Sheen, as well as in here burns an eternal fire. I have to make sure to ensure that it stays from a crack pipe." Everyone within the screening room was laughing hard. I'd never witnessed a guy from the hour deliver this type of effective rebuttal. Later on, Charlie hugged everyone because they left and lit themself a moist Cohiba. I viewed him have a puff and smile in the sky. He then offered me one, offered me a hug and thanked me for "everything." STORY: Charlie Sheen Near to Settling 'Two . 5 Males' Legal Situation Is Going To Be Compensated Millions When I puffed my way home, it all of a sudden struck me just like a light flying across among Charlie's hotel suites. Our comedy intervention had healed him. Our verbal beat lower am vicious and real it really humbled the man normal again. The tiger bloodstream was all of a sudden transfused. The warlock was dead and hidden. The Rock Star From Mars was now yet another character on Charlie's lengthy resume. Charlie Sheen the nut job is finally prepared to be Charlie Sheen the actor again. A week ago's sober-sorry guy routine was just a transitional phase. Just give Charlie a couple of several weeks. He'll find an execllent role he is able to sink his damaged teeth into. This person is really prepared to return large, it's not really funny. Once more, roasted saves lives. Winning, Shaun Ross Related Subjects Jeffrey Ross Charlie Sheen 2 . 5 Males Charlie Sheen Roast

Pitt Coaches Underdog Moneyball Onto Big Screen

TORONTO, Canada -- Brad Pitts about as free a free agent as they come in Hollywood, a superstar so big he could play ball with just about any team, on any film project he likes. Yet he wanted to make Moneyball so much that he stuck with it for years, even after pal Steven Soderbergh, his director on the Oceans Eleven flicks, departed the film in a script squabble with Sony Pictures. Pitt was obsessed with making a movie out of Michael Lewis best-seller Moneyball: The Art of Winning an Unfair Game, which chronicles Oakland As general manager Billy Beanes revolutionary experiment to build a winning team out of unlikely prospects and castoff players chosen because they could be had cheaply and fit new mathematical models that ran counter to traditional baseball scouting stats. I couldnt let go of the book, Pitt said in an interview at the Toronto International Film Festival, where Moneyball premiered ahead of its theatrical release Friday. It was just something I wanted to put out there. The Soderbergh-directed version of Moneyball fell apart two years ago after Sony pulled the plug on it a few days before filming was to start. Soderbergh had submitted dramatic revisions to the script from Academy Award-winning screenwriter Steven Zaillian (Schindlers List), and Sony was unwilling to go along with the changes, which reportedly included interview segments with real players and team officials and re-enactments to tell the story as realistically as possible. Just as Beane had to rebuild his team in 2002 after losing key players to free agency, Sony brought in fresh talent to revive Moneyball. Hollywood heavyweight Scott Rudin joined producers Pitt, Michael De Luca and Rachael Horovitz to help jump-start the film. Aaron Sorkin, who collaborated with Rudin on last years The Social Network and won an Oscar for the screenplay, did a new draft of the Moneyball script, sharing the writing credit with Zaillian. The studio took a risk on a director to replace Soderbergh, choosing Bennett Miller, a 2005 Oscar nominee for his fiction feature debut Capote. Miller came from the artsier, lower-budgeted independent world and had made only one film, a documentary, before Capote. The timing was right for Miller, who had spent a few years trying to get a film of his own off the ground and had just conceded it wasnt going to happen, he said. Moneyball probably wouldnt have happened either without Pitt going to bat for it, Miller said. It needed a champion for it to happen, because theres not a ton in the book that screams box office. Its not an obvious translation to film. Baseball movies are not really attractive to investors because the markets are limited once you get out of the United States, Miller said. Unless you have Brad Pitt saying, I want this to happen, and Im going to see this thing through, Im sure it goes away. So Miller and Pitt met, they connected, and Moneyball was back on the base paths. The result is impressive. Like The Social Network, 'Moneyball crackles with sharp, insightful dialogue. Like Capote, its a rich character portrait of a driven figure (and it doesnt hurt to have Philip Seymour Hoffman, who won the best-actor Oscar in the title role of Millers Truman Capote drama, on board as the As skeptical field manager). And Beane is a character Pitt wears like a second skin, the actor applying all his charm and charisma as he cuts deals, butts heads with the teams scouting staff, absorbs the reproaches of scornful fans and sports commentators and champions the unorthodox numbers crunching of his new aide (Jonah Hill). It speaks to the power of a role fitting someone so powerfully, said co-star Chris Pratt, who plays one of Beanes new acquisitions, player Scott Hatteberg. Put them in a room together, youre like, wow. If youre looking at Billy Beane, the first person youre going to think to play him is Brad Pitt. Hill plays Peter Brand, a composite of a number of economic analysts Beane enlisted as the As adopted sabermetrics, a system that places more value on a players ability to get on base and produce runs than on such traditional stats as batting averages. A small-market team, the As had to find a way to compete with deep-pocketed franchises such as the NY Yankees, who had the money to go out and buy the talent they wanted. Im very interested in equality, and here you had a team with $38 million, and how are they going to compete with a team that has $140 million? Pitt said. How do you level that playing field? So by necessity, they had to tear it all down and question everything, and then the [crap] they took for doing it. They were called heretics and fools and boobs. And yet they punched through and did something that just altered the game a couple degrees. Among Beanes unconventional moves recounted in the film: trading for former Atlanta Braves star David Justice, who was injury-prone and aging; signing catcher Hatteberg and retraining him as a first baseman, a position he had never played; and bringing in relief pitcher Chad Bradford, who had an unusual side-armed delivery and not much speed to his fastballs. The moves pay off as the As earn the American League West title, with Hatteberg the surprise hero as the team wins an AL record 20-straight games along the way. The story of that pioneering season, finding a way to win against the odds, parallels the story of how Moneyball made it to the screen after most in Hollywood had written it off. This whole idea of failure, and how failure can be a tombstone written as the end, Pitt said. To me, theres no win without failure. Failure becomes impetus for the next win. Its this ongoing part of your trip. Copyright 2011 by Associated Press. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

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'Lights' does touchdown dance at Emmys

"Obvious eyes, full hearts, can't lose" was the onscreen mantra of "Friday Evening Lights" dating back its first season, only one which was constantly examined offscreen.From the continually uncertain future being an NBC drama to its virtual abandonment by TV Academy voters (one Emmy victory in the first 4 years, for casting), there is always someone attempting to pin a loss of revenue on "Lights."Sunday in the Primetime Emmys, however, "Lights" did its touchdown dance.Capping a run which was extended three seasons only with a virtually unparalleled production deal between NBC and satcaster DirecTV, "Lights" won two high-profile drama kudos, one for lead actor Kyle Chandler as Eric Taylor, another for professional producer Jason Katims' script for that series finale."It sometimes requires a while for the moment in the future around," stated David Nevins, who had been leader of "Lights" creating shingle Imagine Television before becoming Showtime's entertainment topper this past year. "However I could not be more happy -- Jason and Kyle are two of the very most gifted and many menschy people I have ever labored with."Though constantly recognized by experts because of its nuanced, effective writing and acting, "Lights" operated to date individually distinct that this didn't get a nom either in of individuals groups until 2010, following the series' second season of firstrun episodes on DirecTV. That year, Chandler and co-star Connie Britton each were drawn on, as was author Rolin Johnson to have an episode that worked having a character (Zach Gilford's Matt Saracen) visiting grips using the dying of his father.Delicate handling of these serious material, without becoming maudlin, was the series' hallmark, however it was broadly perceived that for any series consigned towards the borders from the TV world, "this is an recognition to become nominated" was the brand new mantra.But silently, the groundswell of support for "Lights" increased. This season, not just were Chandler and Britton were nominated again, alongside Katims for writing, however the show received its first drama series nom.Although it lost to four-peater "Mad Males" for that drama series grand prize, "Lights" needed to knock-off some serious competition to win its two Emmys. All Chandler needed to do was outpoll Steve Buscemi ("Boardwalk Empire"), Michael C. Hall ("Dexter"), Jon Hamm ("Mad Males"), Hugh Laurie ("House") and Timothy Olyphant ("Justified").Within the drama writing category, the on-area rivals incorporated "Bet on Thrones," the pilot of "The Killing" and 2 instances of "Mad Males," such as the ballyhooed episode "The Suitcase" compiled by showrunner Matthew Weiner.Using the Emmy stage to simply accept his award, the unpredicted triumph wasn't lost on Katims."Towards the Academy, I'll cherish this," he stated, before uttering again, "Obvious eyes, full hearts - can't lose." Contact Jon Weisman at jon.weisman@variety.com

Charlie Sheen States Hes Not Mad At Males Any more

La, Calif. -- Charlie Sheen seems to own hidden the hatchet. Turning up on Thursdays Tonight Show, the first sort star of two and a half Males branched out a forgiving mood toward his old workplace. Asked for by host Jay Leno if hes still angry within the sitcoms producers and network, he mentioned no: He'd have fired themselves had he experienced their shoes. Then he added getting fun, Well, nothing like they did. Sheen remained last March following a actor railed against his bosses, and so they blasted him for his unpredictable behavior just like a drug-mistreating, reckless playboy. It absolutely was bad, Sheen mentioned, summing within the clash, which i own my part because, and The most effective to produce everything right. Asked for why he thought he or she must happen to be fired, Sheen referred to, I will are actually a little more responsible in regards to the condition I used to be arriving in. He told Leno he isn't had any reference to his former castmates, but mentioned he felt no bitterness toward them. His formerly strained relationship along with his father, actor Martin Sheen, is totally fixed, he mentioned. Were pals again. On Monday, the hit CBS comedy returns for just about any year with Ashton Kutcher as Sheens alternative. He recognized Kutcher to become accomplished, then when asked for if he'd any advice for his successor, he mentioned hed would rather supply him with a hug and make sure he understands, Cause me to feel proud, dude. Sheen can also be asked on Fridays edition nowadays. These looks plug a Comedy Central roast of him airing on Monday. Copyright 2011 by Connected Press. All rights reserved.These elements is probably not launched, broadcast, rewritten or redistributed.

Auteur Albert Brooks Feels the 'Drive'

Auteur Albert Brooks Feels the 'Drive' By Jenelle Riley September 15, 2011 Photo by FilmDistrict Actor-director Albert Brooks. He broke into movies when Martin Scorsese, a fan, cast him as a campaign worker in "Taxi Driver." But Brooks often eschewed other acting roles to pursue writing and directing his own filmscerebral comedies such as "Modern Romance," "Lost in America," and "Defending Your Life"whose respectable but hardly blockbuster box office didn't fully reflect the enormous cultural impact his work had. (Anyone who has ever called someone a "little brain" owes a debt to "Defending Your Life.") Outside of his own projects, Brooks has flourished. He earned an Oscar nomination for his performance as an underappreciated reporter in "Broadcast News." And he's beloved by children and adults as the voice of Marlin, Nemo's fretful father, in "Finding Nemo." At 64, Brooks seems to have accomplished everything he set out to in the entertainment world.But with 2011, Brooks might be having one of his best years yet. He released his first novel, "2030: The Real Story of What Happens to America," a look at a future in which curing cancer has drawbacks and health insurance inanities still exist. And this week, audiences will have the opportunity to see him as never before, playing Jewish gangster Bernie Rose in "Drive." Directed by Nicolas Winding Refn, best known for violent thrillers "Bronson" and the "Pusher" trilogy, and starring Ryan Gosling as a man known only as Driver, the stylish film has earned raves along the festival circuit since debuting at Cannes, where Refn won the best director award. In a cast of greats, including Bryan Cranston and Ron Perlman, Brooks stands out as the most sinister, threatening, and amusing villain seen onscreen in a long time."I don't know whose idea it was to cast Albert Brooks as a badass," Gosling admits. "But we're all in competition to take credit for it now." Everyone wants to take credit for casting you in "Drive" how did the role come to you? Albert Brooks: I don't know whose initial idea it was. And Ryan's not joking. Nicolas takes credit for it now; even Bryan Cranston says, "I told them!" I don't know whose idea it was, but I liked the idea. I got a call from my manager on a Thursday; the following day I was going to San Francisco. The casting director Mindy Marin had said [to my manager], "This director's in town for two days; I'd like to send you a script. If Albert likes it, will he go meet with him?" It all happened within an hour: I got a script, I read it, I really did like it, and I went and met him. They didn't say, "It's yours if you want it"they just said to go meet him. So we had this weird dance. It was like an interview for a law firm. Nicolas says, "So, why do you think you should play this?" And I had a very good answer for him. I said, "The same 10 people always play the bad guy, so if you want everybody to think your movie's old hat, cast them." We talked some more, and he told me that when he was younger he sat in a theater and watched "Lost in America" and I scared him when I yelled at my wife. So then I pinned him up against the wall to show him I had strong arms, and I left. Wait, did you really pin him? Did he know you were going to? Brooks: I really did. He had no idea. And let me tell you something; for a guy who films all this violence, I don't think he likes to be touched. I just grabbed him. It was at the end of the interview and I was walking out and we were by the door. And I grabbed him and said, very quietly, "To be violent, you don't have to scream at people."That's a bold move, but I guess it didn't backfire? Brooks: As I was doing it, I thought, "I don't know if this is the right move." But I wanted to do it. I was sort of pissed at the slow interview, and I wanted to do something. I mean, if this had been for, like, a secretarial position, I wouldn't have done it. But I thought it was important to show actual physical strength. Were you at all surprised you were being asked to play a villain? I can't remember seeing you play a bad guy. Brooks: I played a bad guy in "Out of Sight," but he was a pussy. He needed protection in prison, he needed people to stick up for him, he had security guards around him. He wasn't a guy who would take action himself; he paid people to do it. So I've never played a guy who you wouldn't want to cross physically, for your own safety.Because you've created so much of your own work, you've bypassed the audition stage quite a bit. When you sign on to a film as an actor only, do you generally have to audition? Brooks: I have a lot of meetings with directors. Mostly because I made my own movies, I turned down so many great roles, and those were offers. But there have been a few times where I fought for something. I remember I wanted "One Hour Photo." I met the director, and I think in his mind he'd already cast Robin Williams. We met at the Chateau Marmont; I prepared for the meeting, I really thought about it. And when I left I thought, "Jesus, I'd give it to me." But I don't think it was ever in question; I think it was just a formality.As a director, do you understand that? Brooks: Sure, if your heart's set on somebody, it's hard to yank it away. But if you're not set on anyone, these meetings are good. But somebody has to not have it precast, otherwise they're just agent thank-you meetings. And believe me, I've gotten those calls on my films: "Would you meet him, please?" And I said, "I know who I want. I love them but I don't want them for this." And I don't take the meeting, because I think it's an insult; if I know I don't want you, I don't want to waste your time. With "Drive," Nicolas either wanted me, thought he wanted me, or had no idea who he wanted. That was a meeting I was happy to take, and by the way, you're doing it for you, too. You want to sit in a room with someone and say, "Can I work two and a half months with this person?" "Drive" is a fun movie that audiences seem to love, but have you been surprised by all of its critical success? Brooks: It came out of Cannes shot from a cannon. And I was nervous about it. I said to them, "Is it good to take it to Cannes?" Because it's weird: If you have a movie like this and you go there and fail and you're coming out in September, you have the summer just to die. If it's the opposite of word of mouth, you're dead. I was on a book tour so I couldn't go, but Nicolas and Ryan called me and were so excited and saying, "Oh, my God. Oh, my God!" I was getting this contact high. So when it came out of Cannes, I started to get excited because I've been in many movies where I loved the performance, but no one saw it. I shot a movie in Toronto called "Critical Care" with Sidney Lumet where I played an 80-year-old alcoholic doctor, and I was very proud of that whole performance, and seven people saw it.Is that heartbreaking or just part of the business? Brooks: It's just the way it is; sometimes they go nowhere. Years later, someone might stop you on the street and say they saw it, and that's a great feeling. I made this movie I thought was very sweet called "My First Mister." It was released exclusively at Lincoln Center two weeks after 9/11. Not only that, it was the theater that had the anthrax scare. If there was a black hole, that would have been a better place to show it.As a filmmaker, what do you attribute the critical success of "Drive" to? Brooks: I think that's Nicolas. He's showing some chops here, just in the way he constructed the movie. If you took this movie on paper and gave it to 10 other people to make, eight would be a movie you've seen before and wouldn't do much for you. To really be able to make this into a cinematic experience, which he did, is an accomplishment. Both my wife and I saw it, and usually when I see a movie the first time, I'm looking at what was cut out, but with "Drive," I got lost in it. And more importantly, four days later I had these images in my head and the music was haunting me. It stuck with me, and I don't even know how that happened exactly. It was like subliminal advertisinghe might be throwing in some "Deep Red"s there!You mentioned before that you've turned down some great roles. I know you were offered "When Harry Met Sally" Brooks: I was offered "Pretty Woman" I was offered "Big" and "Dead Poets Society." But what was important to me in those years was to make movies, to make these Albert Brooks movies. And if you take your eye off the ball, you don't get the funding. You can't stop once you've started; you have to bring it to completion. There was one part I really wanted, and I had just begun preproduction on "The Muse." It was the Burt Reynolds role in "Boogie Nights." I really wanted to work with Paul Thomas Anderson, but once you start to even assemble a skeleton crew, you can't say to everyone, "Hey guys, I'm going to go off to film this other movie."Did you ever think, from a business standpoint, that if you did those movies, it might make you a bigger name and help your films get funding? Brooks: But the thing is, the goal was never to be a star; the goal was to try to write these movies and get the creativity out. It was really important to get my movies made, or they never would have been made. There's a time when it's right to do those things. And I'm happy with every decision. I don't think the goal is, how big a star did you ever become? I think the goal is, were you able to express yourself? And if you're able to say yes, in any field, you've won. If you paint, write, do mosaics, knitif it's solving that part of your brain saying, "I need to do this," you've won. Nobody gives a shit if your career is here or hereit's all temporary anyway. As an actor, do you think you have empathy for actors who audition for you? Brooks: Definitely. And I'm a good person; I wish all the times I had to go through that, I could have someone like myself because I do it and I understand it and I'm very respectful of the craft. When I audition, I understand what it takes and the insecurities that come with it. If I do anything, I put actors at ease. I used to tell directors who weren't actors, the best thing they could do was take an acting class for a couple of months. Just to understand. Because some directors don't have any feeling for it, and you're on your own. What would you like actors who audition for you to know? Brooks: Auditions are just part of the job. If you take any of this personally, you're in the wrong business. It has nothing to do with you. How many people didn't get a part who would have been better than the person who got the part? Thousands. But it feels very personal. Brooks: It does, because a person is saying no, thank you. But it has nothing to do with you. Somebody has a preconceived notion of what they want, and you might give a better performance or be a better person than what they get, but you look like their aunt and they don't want to spend a week with you. You don't know the reasons. It's like going out on a date. Why do some people get turned down? What do you do? You go on to another person. People's decisions come from things that have to do with them; it's not about you.I read somewhere that you didn't intend to be a comedian. So how did your career in comedy come about? Brooks: It's true, I never wanted to be a comedianI wanted to be an actor. I came back from a year at college, and at 19 I couldn't get any acting jobs. I had a couple of comedy bits I did for my friends, one of which was the world's worst ventriloquist. I did it at a party, and somebody heard about it, and I was offered "The Steve Allen Show." So I started on network television; there were no comedy clubs. So at 19, 20 years old, I started coming up with stuff in my bathroom. Then I got "The Dean Martin Show." These weren't big breaksthese were just laying pipe. I had done about 60 television shows, from "Ed Sullivan" to "The Hollywood Palace," before I ever went to "Johnny Carson." At the time, that was the showcase for comics. And I couldn't believe it. When did you truly feel you had broken through? Brooks: I'll tell you the moment my whole life felt different. Bob Hope used to walk on "The Tonight Show" a lot unannounced. It's fine when you're watching it at home, but when you're on it and he shows up, it's a little jarring. He shows up 10 minutes before the show, and you know he wants to walk out and plug his special. In those days, Johnny Carson used to always tell me I was crazy. He'd say, "You're insane, where do you get this stuff, you are crazy!" And Bob Hope's whole act was using celebrities as punch lines: "Hey, I just saw Helen Reddyboy, I'm a woman now!" That's all he did. So after he plugged his show, Bob Hope said, "Hey, I gotta run but you've got a lot of great people here. I just saw Albert Brooks; he's on the couch now!" And he got a big laugh. I thought, "Oh, my God, Bob Hope got a laugh saying I'm insane! I've made it!" I recorded that and for about eight months, it was on my answering machine.OUTTAKES Other films Brooks wrote, directed, and starred in include "Real Life," "Mother," and "Looking for Comedy in the Muslim World" Spent two years on the road opening for Neil Diamond Penned an infamous essay for Esquire magazine called "Albert Brooks' Famous School for Comedians" Was offered a job on the first season of "Saturday Night Live." He didn't want to continue with sketch comedy but agreed to make several short films for the show, which he considers his "graduate course in filmmaking." Auteur Albert Brooks Feels the 'Drive' By Jenelle Riley September 15, 2011 Actor-director Albert Brooks. PHOTO CREDIT FilmDistrict He broke into movies when Martin Scorsese, a fan, cast him as a campaign worker in "Taxi Driver." But Brooks often eschewed other acting roles to pursue writing and directing his own filmscerebral comedies such as "Modern Romance," "Lost in America," and "Defending Your Life"whose respectable but hardly blockbuster box office didn't fully reflect the enormous cultural impact his work had. (Anyone who has ever called someone a "little brain" owes a debt to "Defending Your Life.") Outside of his own projects, Brooks has flourished. He earned an Oscar nomination for his performance as an underappreciated reporter in "Broadcast News." And he's beloved by children and adults as the voice of Marlin, Nemo's fretful father, in "Finding Nemo." At 64, Brooks seems to have accomplished everything he set out to in the entertainment world.But with 2011, Brooks might be having one of his best years yet. He released his first novel, "2030: The Real Story of What Happens to America," a look at a future in which curing cancer has drawbacks and health insurance inanities still exist. And this week, audiences will have the opportunity to see him as never before, playing Jewish gangster Bernie Rose in "Drive." Directed by Nicolas Winding Refn, best known for violent thrillers "Bronson" and the "Pusher" trilogy, and starring Ryan Gosling as a man known only as Driver, the stylish film has earned raves along the festival circuit since debuting at Cannes, where Refn won the best director award. In a cast of greats, including Bryan Cranston and Ron Perlman, Brooks stands out as the most sinister, threatening, and amusing villain seen onscreen in a long time."I don't know whose idea it was to cast Albert Brooks as a badass," Gosling admits. "But we're all in competition to take credit for it now." Everyone wants to take credit for casting you in "Drive" how did the role come to you? Albert Brooks: I don't know whose initial idea it was. And Ryan's not joking. Nicolas takes credit for it now; even Bryan Cranston says, "I told them!" I don't know whose idea it was, but I liked the idea. I got a call from my manager on a Thursday; the following day I was going to San Francisco. The casting director Mindy Marin had said [to my manager], "This director's in town for two days; I'd like to send you a script. If Albert likes it, will he go meet with him?" It all happened within an hour: I got a script, I read it, I really did like it, and I went and met him. They didn't say, "It's yours if you want it"they just said to go meet him. So we had this weird dance. It was like an interview for a law firm. Nicolas says, "So, why do you think you should play this?" And I had a very good answer for him. I said, "The same 10 people always play the bad guy, so if you want everybody to think your movie's old hat, cast them." We talked some more, and he told me that when he was younger he sat in a theater and watched "Lost in America" and I scared him when I yelled at my wife. So then I pinned him up against the wall to show him I had strong arms, and I left. Wait, did you really pin him? Did he know you were going to? Brooks: I really did. He had no idea. And let me tell you something; for a guy who films all this violence, I don't think he likes to be touched. I just grabbed him. It was at the end of the interview and I was walking out and we were by the door. And I grabbed him and said, very quietly, "To be violent, you don't have to scream at people."That's a bold move, but I guess it didn't backfire? Brooks: As I was doing it, I thought, "I don't know if this is the right move." But I wanted to do it. I was sort of pissed at the slow interview, and I wanted to do something. I mean, if this had been for, like, a secretarial position, I wouldn't have done it. But I thought it was important to show actual physical strength. Were you at all surprised you were being asked to play a villain? I can't remember seeing you play a bad guy. Brooks: I played a bad guy in "Out of Sight," but he was a pussy. He needed protection in prison, he needed people to stick up for him, he had security guards around him. He wasn't a guy who would take action himself; he paid people to do it. So I've never played a guy who you wouldn't want to cross physically, for your own safety.Because you've created so much of your own work, you've bypassed the audition stage quite a bit. When you sign on to a film as an actor only, do you generally have to audition? Brooks: I have a lot of meetings with directors. Mostly because I made my own movies, I turned down so many great roles, and those were offers. But there have been a few times where I fought for something. I remember I wanted "One Hour Photo." I met the director, and I think in his mind he'd already cast Robin Williams. We met at the Chateau Marmont; I prepared for the meeting, I really thought about it. And when I left I thought, "Jesus, I'd give it to me." But I don't think it was ever in question; I think it was just a formality.As a director, do you understand that? Brooks: Sure, if your heart's set on somebody, it's hard to yank it away. But if you're not set on anyone, these meetings are good. But somebody has to not have it precast, otherwise they're just agent thank-you meetings. And believe me, I've gotten those calls on my films: "Would you meet him, please?" And I said, "I know who I want. I love them but I don't want them for this." And I don't take the meeting, because I think it's an insult; if I know I don't want you, I don't want to waste your time. With "Drive," Nicolas either wanted me, thought he wanted me, or had no idea who he wanted. That was a meeting I was happy to take, and by the way, you're doing it for you, too. You want to sit in a room with someone and say, "Can I work two and a half months with this person?" "Drive" is a fun movie that audiences seem to love, but have you been surprised by all of its critical success? Brooks: It came out of Cannes shot from a cannon. And I was nervous about it. I said to them, "Is it good to take it to Cannes?" Because it's weird: If you have a movie like this and you go there and fail and you're coming out in September, you have the summer just to die. If it's the opposite of word of mouth, you're dead. I was on a book tour so I couldn't go, but Nicolas and Ryan called me and were so excited and saying, "Oh, my God. Oh, my God!" I was getting this contact high. So when it came out of Cannes, I started to get excited because I've been in many movies where I loved the performance, but no one saw it. I shot a movie in Toronto called "Critical Care" with Sidney Lumet where I played an 80-year-old alcoholic doctor, and I was very proud of that whole performance, and seven people saw it.Is that heartbreaking or just part of the business? Brooks: It's just the way it is; sometimes they go nowhere. Years later, someone might stop you on the street and say they saw it, and that's a great feeling. I made this movie I thought was very sweet called "My First Mister." It was released exclusively at Lincoln Center two weeks after 9/11. Not only that, it was the theater that had the anthrax scare. If there was a black hole, that would have been a better place to show it.As a filmmaker, what do you attribute the critical success of "Drive" to? Brooks: I think that's Nicolas. He's showing some chops here, just in the way he constructed the movie. If you took this movie on paper and gave it to 10 other people to make, eight would be a movie you've seen before and wouldn't do much for you. To really be able to make this into a cinematic experience, which he did, is an accomplishment. Both my wife and I saw it, and usually when I see a movie the first time, I'm looking at what was cut out, but with "Drive," I got lost in it. And more importantly, four days later I had these images in my head and the music was haunting me. It stuck with me, and I don't even know how that happened exactly. It was like subliminal advertisinghe might be throwing in some "Deep Red"s there!You mentioned before that you've turned down some great roles. I know you were offered "When Harry Met Sally" Brooks: I was offered "Pretty Woman" I was offered "Big" and "Dead Poets Society." But what was important to me in those years was to make movies, to make these Albert Brooks movies. And if you take your eye off the ball, you don't get the funding. You can't stop once you've started; you have to bring it to completion. There was one part I really wanted, and I had just begun preproduction on "The Muse." It was the Burt Reynolds role in "Boogie Nights." I really wanted to work with Paul Thomas Anderson, but once you start to even assemble a skeleton crew, you can't say to everyone, "Hey guys, I'm going to go off to film this other movie."Did you ever think, from a business standpoint, that if you did those movies, it might make you a bigger name and help your films get funding? Brooks: But the thing is, the goal was never to be a star; the goal was to try to write these movies and get the creativity out. It was really important to get my movies made, or they never would have been made. There's a time when it's right to do those things. And I'm happy with every decision. I don't think the goal is, how big a star did you ever become? I think the goal is, were you able to express yourself? And if you're able to say yes, in any field, you've won. If you paint, write, do mosaics, knitif it's solving that part of your brain saying, "I need to do this," you've won. Nobody gives a shit if your career is here or hereit's all temporary anyway. As an actor, do you think you have empathy for actors who audition for you? Brooks: Definitely. And I'm a good person; I wish all the times I had to go through that, I could have someone like myself because I do it and I understand it and I'm very respectful of the craft. When I audition, I understand what it takes and the insecurities that come with it. If I do anything, I put actors at ease. I used to tell directors who weren't actors, the best thing they could do was take an acting class for a couple of months. Just to understand. Because some directors don't have any feeling for it, and you're on your own. What would you like actors who audition for you to know? Brooks: Auditions are just part of the job. If you take any of this personally, you're in the wrong business. It has nothing to do with you. How many people didn't get a part who would have been better than the person who got the part? Thousands. But it feels very personal. Brooks: It does, because a person is saying no, thank you. But it has nothing to do with you. Somebody has a preconceived notion of what they want, and you might give a better performance or be a better person than what they get, but you look like their aunt and they don't want to spend a week with you. You don't know the reasons. It's like going out on a date. Why do some people get turned down? What do you do? You go on to another person. People's decisions come from things that have to do with them; it's not about you.I read somewhere that you didn't intend to be a comedian. So how did your career in comedy come about? Brooks: It's true, I never wanted to be a comedianI wanted to be an actor. I came back from a year at college, and at 19 I couldn't get any acting jobs. I had a couple of comedy bits I did for my friends, one of which was the world's worst ventriloquist. I did it at a party, and somebody heard about it, and I was offered "The Steve Allen Show." So I started on network television; there were no comedy clubs. So at 19, 20 years old, I started coming up with stuff in my bathroom. Then I got "The Dean Martin Show." These weren't big breaksthese were just laying pipe. I had done about 60 television shows, from "Ed Sullivan" to "The Hollywood Palace," before I ever went to "Johnny Carson." At the time, that was the showcase for comics. And I couldn't believe it. When did you truly feel you had broken through? Brooks: I'll tell you the moment my whole life felt different. Bob Hope used to walk on "The Tonight Show" a lot unannounced. It's fine when you're watching it at home, but when you're on it and he shows up, it's a little jarring. He shows up 10 minutes before the show, and you know he wants to walk out and plug his special. In those days, Johnny Carson used to always tell me I was crazy. He'd say, "You're insane, where do you get this stuff, you are crazy!" And Bob Hope's whole act was using celebrities as punch lines: "Hey, I just saw Helen Reddyboy, I'm a woman now!" That's all he did. So after he plugged his show, Bob Hope said, "Hey, I gotta run but you've got a lot of great people here. I just saw Albert Brooks; he's on the couch now!" And he got a big laugh. I thought, "Oh, my God, Bob Hope got a laugh saying I'm insane! I've made it!" I recorded that and for about eight months, it was on my answering machine.OUTTAKES Other films Brooks wrote, directed, and starred in include "Real Life," "Mother," and "Looking for Comedy in the Muslim World" Spent two years on the road opening for Neil Diamond Penned an infamous essay for Esquire magazine called "Albert Brooks' Famous School for Comedians" Was offered a job on the first season of "Saturday Night Live." He didn't want to continue with sketch comedy but agreed to make several short films for the show, which he considers his "graduate course in filmmaking."

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HanWay ink sales on Dustin Hoffman's 'Quartet'

LONDON -- Dustin Hoffman's directorial debut, "Quartet," continues to be offered to many areas.HanWay, that is handling worldwide sales, has inked handles Momentum for that U.K., Transmission for New zealand and australia, Delphi for Germany, Lusomundo for Portugal, A Movie for Benelux, Vertice for The country, Odeon in A holiday in greece, Elite Film in Europe, MG Film in former Yugoslavia, Front Row in the centre East, Ster-Kinekor in Nigeria and Atom Cinema in Taiwan.The film, that was modified by Ronald Harwood from his stage play of the identical title, features Maggie Cruz, Tom Courtenay, Billy Connolly, Pauline Collins, Sheridan Cruz and Michael Gambon.The pic concentrates on several buddies in a home for upon the market opera performers planning their annual concert.Pic was created by Finola Dwyer on her shingle Finola Dwyer Prods. and Stewart Mackinnon for Headline Pictures. It's backed by BBC Films, DCM Prods. and Decca. The film starts lensing now within the U.K. Contact Leo Barraclough at leo.barraclough@variety.com

R.I.P. Cliff Robertson

The rugged leading man and 1968 Best Actor Oscar winner for Charly passed away today after acareer that began as a handsome youngthesp and continuedwell into his dotage. He was 88.ButCliff Robertson may well be remembered for bringing downoneof the most powerful Hollywood moguls, David Begelman.In 1977, Robertson discovered that his name had been forged on a $10,000 check which he realized he had not earned.He soon discovered it was a forgery carried out of Begelman andtriggered one of the biggeststudio scandals of the 1970s. Begelman resigned, and Robertsoncouldn’t get acting work until the early 1980s.Robertsons long movie career began with Picnic in 1955 and continued through Spider-Man and its first two sequels as Uncle Ben Parker.But he may be best remembered for playingJohn F Kennedyin the biopicPT 109 andwas chosen personally by the president.He was also a familiar face in television dramas from the earliest days of the small screen.

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Clooney pix topline London fest

LONDON -- Double doses of George Clooney and Michael Fassbender topline the 55th BFI London Film Festival, which once again provides the U.K. launchpad for many Oscar and BAFTA contenders premiered at Venice and Toronto.Clooney will attend with his political drama "The Ides Of March" and Alexander Payne's "The Descendents," while Fassbender will display his range in Steve McQueen's "Shame" and David Cronenberg's "A Dangerous Method."This year's festival, which runs Oct 12-27, is the swansong of artistic director Sandra Hebron after nine years in charge. For her final event, she has programmed 204 fiction and documentary features, including 11 world premieres, 18 international premieres and 22 European premieres.The LFF benefits from another strong year for British cinema, with local premieres for Lynne Ramsay's "We Need to Talk About Kevin," Michael Winterbottom's "Trishna," Ralph Fiennes' "Coriolanus," Andrea Arnold's "Wuthering Heights" and Nick Murphy's "The Awakening," plus the world premiere of Marc Evans' "Hunky Dory."There's also a first chance for the London audience to see Madonna's "W.E."As previously announced, the fest will open with Fernando Meirelles' "360" and close with Terence Davies' "The Deep Blue Sea," both starring Rachel Weisz. Another actress doing double duty at the fest is Vanessa Redgrave, who stars in "Coriolanus" and in Roland Emmerich's "Anonymous."The Film On The Square section includes Roman Polanski's "Carnage," Gus Van Sant's "Restless," Werner Herzog's "Into the Abyss: A Tale of Death, A Tale of Life," Todd Solondz's "Dark Horse," Sean Durkin's "Martha Marcy May Marlene," Drake Doremus' "Like Crazy," Miranda July's "The Future," Richard Linklater's "Bernie," Oren Moverman's "Rampart" and Jonathan Demme's "I'm Carolyn Parker."Among the foreign-language highlights are "The Kid With a Bike" from the Dardennes brothers, Nanni Moretti's "We Have a Pope" and Michel Ocelot's animation "Tales of the Night." "The Artist," Michel Hazanavicius' homage to Hollywood's silent era, will also have a gala screening.Special events include talks by Payne and Winterbottom. Abi Morgan, Miranda July, Alexandre Desplat and Barry Ackroyd will give masterclasses, and there will be an in-depth look at the making of "We Need to Talk About Kevin" with key members of the cast and crew.This year's archive gala is the BFI National Archive's restoration of Miles Mander's 1928 silent melodrama "The First Born," with a new score by Stephen Horne.Eight of the fest's world premieres are in its New British Cinema section, with titles including Carol Morley's "Dreams of a Life," Richard Jobson's "The Sonambulists" and D.R. Hood's "Wreckers." Contact the Variety newsroom at news@variety.com