Fox and DirecTV Reach Last-Minute Deal to Avoid Blackout

Fox, Direct TV logos DirecTV and Fox Networks reached a last-minute agreement Monday to avoid a blackout that would have included FX, several regional sports networks and other Fox-owned cable channels, The NY Times reports. "Fox Networks and DirecTV have reached an agreement for DirecTV to continue carrying all Fox Networks," the two companies said in a joint statement. "We both know the past 10 days have been challenging, but we're pleased that both sides could eventually come together to ensure our viewers continue to enjoy Fox programming." Kurt Sutter takes on DirecTV over possible blackout with choice words Fox and DirecTV had been engaged in a public battle since Oct. 21. Fox claimed that DirecTV sent the company a proposal that stipulated that Fox agree to their pricing terms or else DirecTV's 19 million subscribers will lose access to more than two dozen Fox cable. DirecTV claimed that Fox was seeking a 40 percent increase in subscriber fees. They came to an agreement just nine hours before the Nov. 1 deadline. In the days leading up to the possible blackout, Kurt Sutter - the creator and executive producer behind FX's Sons of Anarchy, took to his blog to share the script of a promo he had written himself, but had not been approved or filmed. "Starting November 1st, DirecTV is pulling FX from your box. That means you'll miss the last five episodes of Sons this season. Perhaps five of the most critical episodes of the series," he said. "I know Fox has a horse in this race, but they're trying to negotiate in good faith. DirecTV is shutting down all conversation and using their customers as leverage. In the process, you're getting f---ed over. They're running ads with their corporate shill telling you how much 'they care about your business,' that dude's got one sincere hand on his heart while the other greases your unsuspecting backside. Because they're about to flip you over and f--- up the a-- till you bleed." DirecTV has 19 million subscribers. Are you happy Fox and DirecTV avoided the blackout?

Joely Richardson on Anonymous, Playing Elizabeth and also the Challenge With Greenscreen

Sure, it’s a difficult sell. But Anonymous has plenty going for this both behind your camera (director Roland Emmerich and film writer John Orloff posit the authenticity of Shakespeare) and before it too, in which a sterling cast including Rhys Ifans, David Thewlis, Mark Rylance and also the estimable mother-daughter combo of Vanessa Redgrave and Joely Richardson — playing Full Elizabeth I some 4 decades apart — search in to the historic, political and romantic intrigues with relish. Richardson plays the “Virgin Full” as not her strong-willed monarch is actually the cougar-y lover from the youthful Earl of Oxford (Jamie Campbell Bower), who'd themself come to be the forlorn aristocrat (Ifans) accountable for privately penning Shakespeare’s celebrated work. It’s the British actress’s second time playing a more youthful version of her mother’s character — as well as her second collaboration with Emmerich — with almost an eternity of changes to take into account among. Richardson described inside a recent conversation with Movieline. How’s this fall’s Anonymous tour opting for you? I haven’t really been area of the tour because I’ve been working. What's helped me happy is seeing the crowd response. I’ve seen the film completely through two times, as well as in Toronto after which last evening I remained to look at the outlet 10-fifteen minutes, and that i’ll watch it again working in london in a few days. I simply love the way in which people react. They are available out asking them questions, the best idea factor — they’re truly involved and engaged which their marbles happen to be open a little. Mine was, because I'd no clue concerning the authorship question before we began filming. Well, I'd learned about it once from someone, however i thought these were speaking rubbish. “Don’t be so silly!” After which after i met Roland and John, plus they began to inform me about all of the details, and that i began to see by what incredibly prominent individuals who considered it — both for and against — I began to become interested. I recognized it would be a big issue and possible it wasn’t William Shakespeare, the actor from Stratford. This really is pretty dense stuff. The number of reads made it happen decide to try decide to try really get a mind round the ideas, ideas and timeline within this script? It had been very hard. It had been a hard script to see. It had been a large leap of belief. I’m not to imply that John didn’t perform a congrats — he did perform a congrats — however it just wasn’t a simple script to see, since you needed to keep back-referencing. That’s why, initially when i first sitting lower to determine the film, I had been so excited to determine [the finished product]. My mother and my cousin and my daughter had really seen an earlier screening, plus they known as me and stated, “It’s great! He’s done an incredible job!” And So I sitting lower and viewed it and stated, “Wow. Roland’s done an impressive job.” Also, a lot of it had been against greenscreen, which means you didn’t understand how it would look. That which was that shooting atmosphere like? It’s very strange. It’s very strange. I didn’t have a lot of greenscreen, but there is one kind of really absurd sequence beside me and Jamie [Campbell Bower], who plays the youthful Oxford. I was on the soundstage in Berlin, also it was all greenscreen, and that we were intended to be galloping with the countryside. The two of us were on both of these horses saying, “Giddy up! Go!” And that we both just felt ridiculous. I suppose that point it didn’t work, since it was cut. I simply don’t possess the imagination and technical understanding to understand how greenscreen works. Yeah, I certainly don’t keep in mind that scene. Yeah. And i believe Jamie and that i are very happy that nobody saw that scene within the movie. [Laughs] You’ve performed a more youthful version of your mother’s figures before [in Wetherby]. How was this turn different? Did that have help whatsoever? Not necessarily. After I made it happen formerly, I had been still a teen. I had been still at drama school it had been my first job on film. Two decades have passed by since that time, a minimum of, and so i’ve had a few decades working. Therefore it was very, completely different. I had been an overall total film virgin initially when i first did that. It was just exciting and lovely and poignant — and lucky. I felt really lucky that Mother and that i were both in a position to play Elizabeth. Any actress could be. I just read that both you and your mother didn’t really discuss the way you’d play Elizabeth — that the relationship or familiarity type of moored the smoothness through the years. Yes, but additionally, we’re different people. I am talking about maybe you have seen any footage individuals, I don’t know, even ten years ago? Or perhaps in ten years from now — you won’t function as the same person. Your voice could even differ. The main reason I only say that's because I'd seen footage of my mother at 30, within an interview she’d done. Her voice was completely different. What she exuded was completely different. I don’t think we want gimmicks to correlate the performance. To begin with, everybody knows the look of Elizabeth using the vibrant red-colored hair and also the whitened, whitened face with no eye brows. The look would work with us, however the youthful Elizabeth was this type of different lady compared to older Elizabeth. She’s damaged through the finish. She’s lost touch with reality. The youthful Elizabeth was still being causing. Didn’t that spark require some type of emotional continuity, though — some sense or quality in Elizabeth which was exhausted as she went along? Or getting been damaged through the choices — the tough choices — she’s needed to make to choose her crown over her heart. Both of us browse the script, and despite the fact that it had been a hard script to see, you subliminally or unconsciously be aware of character’s… journey? Ugh! It’s this type of terrible word. However, you be aware of journey. And So I could think of the older Elizabeth, and i believe she could think of the more youthful. You’d also labored formerly with Roland around the Patriot. What had transformed about him and the working techniques, particularly together with his cast? Roland was completely different, and that i seemed to be completely different. I believe I had been much more nervous and most likely shy and a bit intimidated, because you may already know, it had been a really large film that i can be cast in at that time — opposite Mel [Gibson] with Heath [Ledger]. And So I wasn’t exactly during my safe place, though I truly was beyond thrilled to possess become the part. And Roland would be a different guy, then. He hadn’t learned to speak with stars just as much. The guy I met nine, ten years later only agreed to be full of energy, was incredibly exuberant, desired to have the actor choices. In the era of the Patriot, he labored very carefully using the producer Dean Devlin, and Dean would talk more towards the stars while Roland told the storyline with the camera. So he was completely different. I really like and adore Roland, is I must say. When somebody does a project they’ve been thinking of doing for a long time, they're so happy. I believe Roland’s also in an exceedingly happy devote his existence too. It had been just his grand enthusiasm. It had been like ten years later, he was ten years more youthful than initially when i first met him. It simply appears like this type of thought to determine a man who many people think about as— Who know him for his large action films. But he’s incredibly intelligent. Obviously! And enthusiastic about the humanities. Maybe “renaissance guy” doesn’t apply nowadays since the occasions will vary, and everybody’s a little more renaissance people. But he's something of the renaissance guy. You’ve performed Elizabeth now, so there’s that. Should you could play every other historic figure from the time, who do you consider it will it be? I’ve performed a great deal. Really, before Elizabeth, I performed Catherine Parr [around the Tudors], the final wife of Henry VIII — the one which reached survive. I performed Wallis Simpson [in Wallis & Edward], I’ve performed Marie Antoinette [within the Affair from the Necklace], and so i’ve done a number of of these. [Laughs] I really like playing historic figures. Next? I don’t know. Used to do, inside a docudrama, play Virginia Woolf I’d like another crack at her down the road, simply because she’s this type of fascinating lady. — just when it comes to her mind. But… That’s everything’s visiting me at this time! Read Movieline’s overview of Anonymous here, in addition to interviews with Rhys Ifans and Roland Emmerich. Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitter. [Top photo: Getty Images]

Elizabeth Warren's Hollywood Backers: Big Names, Big Money

This article originally appeared in the Nov. 4 issue of The Hollywood Reporter.our editor recommends10 Hollywood Players That Will Make a Difference in the 2012 Elections Every political season, Hollywood Democrats rally behind at least one fresh face. In 2010, it was Kamala Harris, who raked in thousands of dollars from the industry in becoming California's first female attorney general. Before that, it was Alan Khazei, who sought Ted Kennedy's Senate seat that eventually went to Tea Party candidate Scott Brown. PHOTOS: Box Office Politics: The Movies and Stars Dems vs. GOPers Love (and Love to Hate) This year's rising star is ex-Harvard Law professor Elizabeth Warren, who likely will face Brown in November 2012. Warren, 62, came to Hollywood's attention when President Barack Obama asked her to chair the panel overseeing the Troubled Asset Relief Program and she became an advocate for financial regulation reform. At about that time, film composer Hans Zimmer came across a speech on YouTube that Warren had given at UC Berkeley. Zimmer contacted her to discuss ways Hollywood might aid middle-class Americans and also got in touch with Ron Howard, who introduced Warren to Adam McKay, Will Ferrell's producing partner. Ferrell, Jim Carrey and others were enlisted to star in a Funny or Die video urging Obama to back consumer financial reform. Warren received a mention in the credits, and the video became a viral sensation. PHOTOS: 10 Hollywood Players That Will Make a Difference in the 2012 Elections Now, Norman and Lyn Lear are set to host a $1,000-to-$5,000-a-plate fund-raiser Nov. 1 for Warren, with co-hosts including Barbra Streisand, Steve Bing and Lorraine and Sid Sheinberg. Warren has raised $3.15 million, and she'll need more if she wants to beat Brown, who has $12 million banked. But taking Hollywood money has drawbacks. Harold Ford Jr. visited Beverly Hills so often for his 2006 Senate run in Tennessee that his opponent portrayed him as a Hollywood party boy. Ford lost. Still, Warren is expected to be a frequent Westside visitor. Says Zimmer, "She will be that strong and principled voice we need in Congress." 3 OTHER CANDIDATES SHOWBIZ LOVES: Kirsten Gillibrand,NY Senator:The incumbent has raised more than $200,000 from industry sources, most of them supporters of Hillary Clinton, who previously held the seat. CAA's Kevin Huvane hosted an Oct. 23 fund-raiser for Gillibrandat his Beverly Hills home. Patrick Murphy,Former Congressman:He's running for Pennsylvania attorney general, but the West Point graduate helped persuade moderate Democrats to support the repeal of "Don't ask, don't tell." Expect Rob Reiner and others to pledge cash. Dan Roberti,Running for Congress in Connecticut:The first-time candidate has raised $50,000-plus from Hollywood. How? While working on a graduate degree in New Orleans, Roberti met James Carville, who is helping him with industry introductions. Related Topics Barbra Streisand Ron Howard Steve Bing Politics

Steven Tyler: Hotel Fall Was Not Due To A Relapse

First Published: October 27, 2011 10:01 AM EDT Credit: Getty Premium Caption Steven Tyler stops by the SiriusXM Studio in NY City on October 14, 2011LOS ANGELES, Calif. -- Steven Tylers accident in Paraguay this week landed him in the hospital, but the rock legend and American Idol judge would like his fans to know it was not due to a relapse. I started to get sick, and I just fell on my face, the 63-year-old said on NBCs Today show on Thursday morning. I just passed out. After Tuesdays accident, his tour manager contacted the American Embassy, who directed him to a hospital in the area a facility Steven was very pleased with. They stitched up my eye. They did a little plastic surgery. And they fixed my tooth. All in one fell swoop, he continued. The rocker, who has previously battled addiction issues, understands that some people might think he relapsed. I get that people think that, he explained. It still bothers me a little, but its something that I have to have to deal with for the rest of my life. Despite his spill, Steven said the show and his tour must go on. Short of having my leg taken off, people are going to expect me to take the stage, the Aerosmith frontman added. Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

CBS Punished for Airing Unlicensed Photos of John Edwards' Mistress

Robert Spencer/Getty Images CBS remains punished having a celebrity digital digital photographer who claims the network's The Insider as well as the Early Show featured without license his images of Reille Hunter, the mistress offormer presidential candidate John Edwards, and her child.our editor recommendsJohn Edwards' Daughter, Cate Edwards, Married to Dr. Trevor Upham John Edwards film may unearth new particulars on scandalJohn Edwards Indicted on Campaign FraudAaron Sorkin to direct John Edwards project Alan Zanger, a paparazzo famous for his stakeout abilities, filed the copyright breach claim in NY federal court on Friday. According to his complaint, Zanger struck a distinctive certification offer October 2008 while using NY Publish to create photos of Hunter and Edwards' love child. Following a photo was launched, Zanger began calling other media to gauge fascination with further certification of his range of Hunter photographs. Among the shops mentioned to own taken a license were Inside Edition and US Weekly. According to him the Insider expressed some initial interest, so he shipped a few his photos for evaluation reasons. There allegedly wasn't any immediate communication next, and CBS is mentioned to own gone ahead with showing the photos on its shows. Zanger states the alleged copyright breach triggered him harm. "These photographs as well as the event created great publicity which is appealing for the public particularly,Inch states Zanger's complaint. "Complaintant has zealously and deliberately licensed his Reille Hunter with Baby Collection to several news shops to make sure that Complaintant and also the licensees can boost the public distribution of complaintant's Reille Hunter with Baby Collection..." News that Edwards was getting an affair was revealed with the National Enquirer in 2007 and interest progressively started to create, wrecking the first sort senator's status. He's scheduled to handle a jury trial next season for applying political donations to pay for his affair. Meanwhile, in recent several days, photography fanatics are actually more aggressive in going after television systems for featuring their work without license. In one example, Fox News continues to be punished for smashing the copyright by having an image ofAssata Shakur through the O'Reilly Factor. In September, Fox News taken proper care of immediately the accusations by proclaiming fair use, estoppel since the image was allegedly acquired using the FBI, that while using look was fleeting and for your reason a p minimus non-infringing use, that the complaintant's claims were a breach of Fox News' right of freedom of expression and free press beneath the First Amendment. Fox News states the copyright registration round the Shakur photo is created only following a airing, which might foreclose legal damages. In Zanger's claims, he notes he was launched a copyright registration within the month of the month of january 2009. Nevertheless, Zanger is seeking damages for willful breach that's been enhanced damages for neglecting to provide him with with proper credit. He's also seeking an injunction and disgorgement of profits. Zanger is represented by attorney Nicholas Penkovsky. A CBS News representative gave us this statement: "We have not seen the suit and really should not discuss its particulars. We've great respect for copyright protection just like a general matter, that is our practice to make certain our usage of copyrighted material is either approved with the copyright holder or inside the bounds of fair use." E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Politics

Robert Downey Jr. Asks Hollywood To Forgive Mel Gibson While Accepting American Cinematheque Award

The American Cinematheque tribute to Robert Downey Jr last night held might have been unthinkable just a few years ago when the actor was hopelessly hooked on drugs, destroying hiscareer and winding up in prison. But if there is anything Hollywood loves, it is redemption – and a second(or third or fourth) chance. That’s something Downey received and ran with largely thanks to his wife Susan who put him on the right course and hasn’t let him fall offsince.With a hot career thanks to a second Oscar nomination for Tropic Thunder and blockbuster franchises like Iron Man and Sherlock Holmes, Downey not onlyturned around hiscareer, he fixed his life and now he’s reaping the rewards as evidenced by the great turnout on Friday night at the Beverly Hilton. But the evening took a serious turnwhenDowneymade an impassioned pleatoHollywood to “forgive” his friend Mel Gibson who was on hand to present him with the award. “Unless you are without sin –and if you are, you are in the wrong [expletive] industry, you should forgive him and let him work,” Downey said to much applause. The whole eveningwas about as loose – and honest – as these sorts of things ever get. Perhaps that was due to the lack ofcameras this year. Comedian Gary Shandling made note of that right off the top: “It’s untelevised this year. It’s been downgraded to a live show.If you don’t see it on TV, does that mean it’s good? Does that mean you can say F***?”And then JamieFoxx, in the same pre-taped bit, started singing CeLo Green’s ‘F*** You’ song. American Cinemathequeis dedicated to showing and preserving the great films and operates my favorite theatres, the historic Egyptian and Aero in Los Angeles, did not lock in a tv deal this year after having their annual award show broadcast on AMC and most recently, ABC. So this time anything goes and it did. That opening pre-tape piece also featured Gibson and it didn’t pull any punches. “It’s amazing how clean he is with all that cocaine,” said Foxx of the night’s honoreeat one point , and that was pretty much the tone all night as cameras constantly caught Downey laughing at everything. Jodie Foster came out and noted that they both had worked with Gibson twice and said Downey was “Crazy brilliant and brilliantly crazy. Luckily for us he flipped the switch and got sober.” Jennifer Aniston on the other hand cracked she knew “he would never let his career get in the way of classic Grade A drugs”. Anthony Hopkins appeared on tapeand led into clips from Downey’s Best Actor Oscar nominated perrformance in Chaplin which should have been a winner but unfortunately he lost to what amounted to a career award for Al Pacino (for Scent of a Woman). His pregnant wife Susan appeared and said she fell for him despite “his well-documented DNA but I’m not going anywhere.” On his acting she commented , “Give him one line and he will give you 100 variations”. The whole family was there including his mother Elsie, sister Allison and first son, Indio. Dad Robert Downey Sr. , a filmmaker in his own right showed footage from Downey’s film acting debut at age 5 in his father’s Pound which he got to be in because as Sr. says, “we could not afford a babysitter”. In one of the night’s most poignant moments his dad turned to him and said very publicly, “Robert, the moment you turned your life around is more heroic than any movie. I’m proud to be your father.” He was described “like a phoenix who would rise from the ashes, always strong in body , mind and spirit”. Jack Black called him a “stone cold stud muffin” while Michael Douglas , looking great, said “working with Robert Downey Jr ( on The Wonder Boys) was something special. He absolutely has the ability to be more alive in front of a camera than in his own life.” His Iron Man director Jon Favreau told the crowd he didn’t know the Robert that “screwed up”. He said when he came in for the role he was focused, dedicated and said it was his part. His co-star Gwyneth Paltrow, on tape, called him “one of the finest actors this business has ever seen but everyone knows that.” Joel Silver also spoke (too long) along with Jared Harris but the undisputed highlight of the night came when previously unannounced guest Mel Gibson appeared. Gibson and Downey Jr. co-starred in Air America and Gibson’s unwavering support of Downey during his darkest hours was well-documented at the time. He said “He taught me many things and I will use the ‘C’ word, courage. There’s nothing so much wrong with him. Of course you have to worry about the guy making the judgement here. He’s a good dude with a good heart,” Gibson said in bringing Downey up to accept his award to a standing ovation. “This is my fuckin’ time,” Downey said. “Mel and I have the same lawyer, same publicist and same shrink. I couldn’t get hired and he cast me. He said if I accepted responsibility – he called it hugging the cactus – long enough my life would take meaning and if he helped me I would help the next guy. But it was notreasonable to assume the next guy would be him.” Downey then went to hug Mel and urged people to let him continue his career without shame. He also pointed out Sean Penn in the audience who once told him, “open the door or I will kick it down”. Warner Bros execs Jeff Robinov, Dan Fellman and Sue Kroll were among those out in force for the event. Downey’s Sherlock Holmes sequel is their big Holiday release. Its directorGuy Ritchie also spoke. Universal’s chief, Adam Fogelson was there too and told me he has hopes the studio’s big summer hit, Bridesmaids will get Oscar recognition for Screenplay and Best Supporting Actress Melissa McCarthy and , fingers crossed, maybe even more than that. He’s already high on next year’s possibilities including the planned Tom Hooper film of Les Miserables with Hugh Jackman and Russell Crowe. Fogelson , who just got re-upped through 2014, said he had a rough week with the Tower Heist VOD controversy but really loves this job. I also talked to Downey’s agent and co-chair of CAA, Bryan Lourd who recounted how he had to go to the Marvel board to assure them Downey would be clean and sober and okay to do Iron Man. The actor was still a big risk then and Lourd said the board had to be convinced he would be a good bet . The rest is obviously history but it was a reminder of how far Downey has come in so little time.Hollywood is a tribute mood this week. After Thursday night’s TV Academy salute to Carl Reiner as well as the Santa Barbara Film Festival honoring Michael Doughlas with the award named after his father Kirk on the same night, the trend continued Friday with

Community Exclusive: Malcolm-Jamal Warner Returns... to Remarry Shirley?

Yvette Nicole Brown, Malcolm-Jamal Warner Is Community's Shirley (Yvette Nicole Brown) going to give her ex-husband another shot?Fall Preview: Get scoop on your favorite returning showsFormer Cosby Show kid Malcolm-Jamal Warner will reprise his role as Shirley's ex Andre in an upcoming Season 3 episode, TVGuide.com has learned exclusively. And when he does, he'll have only one thing on his mind: walking down the aisle with Shirley a second time.Warner, who is currently starring on BET's Reed Between the Lines, first appeared on the show in Season 2 when Shirley wound up pregnant. Although Shirley feared that Chang (Ken Jeong) was the baby's father, it was ultimately revealed to be Andre, offering a glimmer of hope for the former couple's future.But according to creator and executive producer Dan Harmon, Shirley may not be ready to give up her new life to return to her old one.Is Community really going to be "less weird" this year?"Shirley came to community college because she was a broken woman," Harmon says. "She had been deprived of her stability, so she w as going to strike out on her own. And now quite unexpectedly, her stability has returned to her, but she's still in community college. So, there's a huge question that has to be asked third season: Is she going to stay here and why?"Warner is expected to return in the third season's 12th episode, which is slated to air sometime in early 2012.Do you think Shirley should get remarried?

Beyonce Discloses About Waiting To Get Pregnant, Keeping Her Marriage Strong

First Launched: October 11, 2011 10:10 AM EDT Credit: Harper's Bazaar NY, N.Y. -- Caption Beyonce round the cover of Harpers Bazaars November 2011Beyonce is pregnant along with her first child, as well as the usually quiet-about-her-personal-existence singer opened up up up about why she anxiously anxiously waited to own children. It had been vital in my opinion that we gave myself time for you to give consideration to becoming the woman If only to become, building my empire, my relationship, and my self-worth, before I increased to become parent, she told the November problem of Harpers Bazaar. Now God has fortunate us while using ultimate. To ensure that as she prepares to use motherhood, apparently in February 2011, the singer, 30, mentioned she's showed up in a place in their existence where she is stuffed with confidence. I am finally within the stage throughout my existence where I am not too concerned about other artists opinions about my existence options, she told playboy. It is so liberating to really know very well what I'd like, what truly makes me happy, things i will not tolerate. I have found that it's nobody elses job to think about proper proper care of me but me. The Run The Earth artist has spent years not talking about her relationship with husband Jay-Z, whom she married in 2008, but she broke her silence for the magazine, explaining how they keep their romance strong. We focused three years on our marriage and situated it introduced us an amount more effective bond and connection, the singer mentioned. But like anything great and effective within your existence, marriage takes effort and sacrifice. It must be something both you and your husband deeply want. For further with Beyonce, including photos and behind-the-moments video, visit HarpersBazaar.com. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Exclusive: Suburgatory Casts Prom Star as Love Interest for Tessa

Thomas McDonnell Looks like Tessa will find something to love about the suburbs after all! Prom star Thomas McDonell has booked a two-episode stint on ABC's Suburgatory, TVGuide.com has learned exclusively. Cheryl Hines on mocking, embracing the suburbs in Suburgatory He'll play Scott Strauss, an incredibly handsome guy who both Tessa (Jane Levy) and Dalia (Carly Chaikin) go gaga for. Catfight, anyone? The role reunites McDonell, 25, with Levy; the two starred opposite each other in Josh Schwartz' upcoming feature Fun Size. McDonell also stars as the young Barnabas Collins (the older version will be played Johnny Depp) in Tim Burton's film adaptation of Dark Shadows.

From Johnny Drama to Gentleman: Kevin Dillon Says Being Mr. Comedy Is a "Victory"

Kevin Dillon It's not every day that you hear grown men shout "victory" in the middle of a home improvement store. For How to Be a Gentleman's Kevin Dillon, who recently ended an eight-season run on Entourage, it's just how people say hello. "Before Entourage, I would have a lot of Marines and Platoon fans quoting, 'Did you see that head come apart?'" Dillon tells TVGuide.com. "Now, I get, 'Hey, Johnny Drama!' Just today, I went to Home Depot and I had guys screaming 'Victory!'" A lot has changed for Dillon in the past eight years, and we're not just talking about how he's greeted at the checkout line. After first gaining notoriety for dramatic film roles in Platoon and The Doors, Dillon unleashed his funny bone as Johnny "Drama" Chase, the hotheaded, fame-starved older brother of A-list star Vince Chase on HBO's Entourage. The show became notorious in showbiz circles and landed Dillon a catchphrase (courtesy of Drama's beloved cult TV series Viking Quest), Diet Pepsi ads and three Emmy nominations for Best Supporting Actor in a Comedy. Check out all the familiar faces returning to TV this year Now, less than a month after the Entourage gang's adventures came to a close, Dillon is already back on the small screen starring in the CBS sitcom How to Be a Gentleman. "Even though I didn't really want to work right now - I wanted to take three months off at least - it just happened," Dillon says. "Before [Entourage], I couldn't get a sitcom. People wouldn't hire me for comedies. They would say, 'Oh, he doesn't do comedy,' and now it's really all I do." Airing Thursdays at 8:30/7:30c, this modern take on The Odd Couple stars Dillon as Bert Lansing, an army veteran and gym owner/trainer who befriends the etiquette-obsessed Andrew (David Hornsby). (The Oscar to Hornsby's Felix, if you will.) On the surface, Bert's gruff and buff exterior may seem strikingly similar to Drama, who once was so obsessed with looking fit that he begged his baby bro for calf implants. "I don't think people will see them as the same. I feel like we're going after a slightly different audience," Dillon says. "Bert Lansing is a lot of fun. He's much more of a sloppier type of a guy. He's not as much of a metrosexual as Johnny Drama, who loved manis and pedis." The cast of Entourage says goodbye - for now; confident movie will happen There's also the notable absence of expletives in Bert's everyday vocabulary in comparison to the zero broadcasting standards Entourage was held to on a pay cable network. "I thought I'd miss cursing, but I actually don't," Dillon says. "I still feel like I can get my point across without real harsh language." The biggest difference between Bert and Drama may just be their group of friends. Entourage followed four guys who grew up on the same block in Queens, went to the same school and had (mostly) the same sensibilities about life, love and Hollywood. On How to Be a Gentleman, Bert is easygoing and rough around the edges, while Andrew is uptight and obsessed with doing things the proper way. "Because there hasn't been an Odd Couple since the '70s, it's been awhile since we've seen anything like this," Dillon says. "This one it seems to be snappier, quicker and just a different vibe, but you can still feel the two guys and their differences." Entourage creator Doug Ellin on the end, the backlash and when fans can expect a movie Although Dillon has his hands full with How to Be a Gentleman, he hasn't closed the door on Drama and his Entourage crew just yet. After plans for a follow-up film were first announced in 2010, he's still hopeful that the boys from Queens will get their day on the big screen. "I think it's still going to happen. It's just kind of tricky with the guys working, but it seems like all the actors are on board. Doug Ellin wants to write it. Mark Wahlberg wants to produce it so I do think it probably will happen," he says. "I hope it does." Until then, however, Dillon is hoping his latest act catches on as well as Drama did. "Hopefully, they might be quoting some Bert Lansing lines some day," he says with a laugh.

Frank Langella on Acting, Careerism, and Aging

Frank Langella on Acting, Careerism, and Aging By Simi Horwitz October 5, 2011 Photo by Joan Marcus Frank Langella in "Man and Boy" Playing the unscrupulous international financier Gregor Antonescu in a revival of Terence Rattigan's "Man and Boy," Frank Langella vividly evokes a sly figure devoid of morality who revels in his cruel gamesmanship. He is a man obsessed with amassing large sums of money, with no concern for its legality. Beating the odds is part of the thrill. The year is 1934, and Gregor has taken refuge in his estranged son's West Village apartment, where he manipulates and blackmails associates while attempting to elude the authorities. One of the actor's more striking, albeit subtle, moments occurs toward the end of the second act when Gregor's wife demands that he look at her, acknowledging her existence in some way. It's a bone-chilling few seconds as he turns to face herhis expression an unexpected amalgam of genuine curiosity, malevolence, and even a hint of sadness.A Roundabout Theatre Company production running at the American Airlines Theatre on Broadway, "Man and Boy"with its savagely corrupt businessman and its homosexual overtonesis a timely play. And Gregor is the latest in a long list of complex, contradictory, and unappealing characters Langella has tackled during his close to 50-year career: Think "Amadeus" and "The Father" onstage, "Dracula," and most notably, "Frost/Nixon" on stage and screen. "I like monsters; I like mystery men," Langella says in his dressing room before a preview performance. "It's a clich among actors, but it's true: The most rewarding characters are those who are relentlessly without a conscience, those who travel a journey, start as one thing and through the progress of the evening become something else. That's always interesting. The challenges are breath, focus, energy, and the commitment to a certain kind of evil. This man is determined to survive at all costs, even at the cost of his most intimate relationship, which is with his son. He has a trophy wife and an assistant but really lives to make money. He's a sociopath. It's my job to find those moments of vulnerability without breaking the fabric of who he is." Wearing dungarees and sneakers and eating nuts out of his cupped palm, the 6-foot-2, 73-year-old veteran actor is at once casual and patrician, reserved and forthright, steely and amusedwhether he's talking about the loss of dignity in the social arena, the blurred line between what's private and what's public, or industry trends and the art of acting. He points to a series of aphorisms pinned to his dressing room wall, including "Mean It" and "Leap Empty Handed Into the Void." "That's what you should do as an actor," he says. "Learn your lines, know what they mean, mean them when you say them, and then take it where it takes you. I was once told I act in the wilderness and that I have no point of view. I've come to trust that something will emerge from the wilderness. I like going in every which way during rehearsal. I usually work from the inside out, but sometimes it's the other way around. I may rehearse at top energy or top speed, and then the next day I'll play it low-key. It's all a big cauldron. I throw everything in, see what works, and then do less and less. It starts as a minestrone and then becomes a simple broth. A food analogy," he chortles, cupping more nuts into his mouth. Whatever Langella's method, it's working, asserts "Man and Boy" director Maria Aitken. "He arrives with energy, stagecraft, and presence," she says. "And to this role in particular he brings authority, a diabolical charm, and a willingness to explore his dark side." Adam Driver, who plays Langella's tormented and beleaguered son, notes, "One of his many great qualities onstage is his fearlessness to forget. He walks on and is absolutely fearless with rediscovery, even if that means sacrificing moments he knows are 'working.' " Bad Behavior Born and raised in Bayonne, N.J."and proud of it," he saysLangella began his journey of self-reinvention at an early age. Knowing he wanted to act and determined to lose all regional and ethnic traces in his speech, he assiduously listened to the records of John Gielgud, incorporating as much of the actor's vocal style into his own as possible. Indeed, years later he told Gielgud about his self-improving activities as a youngster; the legendary actor assured him he had succeeded in freeing himself of any Italian-American, New Jersey accent. " 'You're well over it, dear boy,' " Langella mimics. After graduating from Syracuse University, where he majored in drama, Langella ventured into the professional world, where a major challenge was learning how to be more collaborative and cooperative. He admits he was "obstreperous, arrogant, and stubborn." He adds, "Just because I might have been right about something doesn't mean I shouldn't have been more careful. I stopped that in my 50s. No, I don't think that was late. The fact that I stopped at all is remarkable. A lot of actors carry their worst habits to their graves." Nonetheless, Langella says belief in oneself is the key to a successful career, and indeed, self-destructive behavior comes from a lack of belief in oneself. Equally important, an actor needs to believe in the project and truly want to be a part of it. As Langella tells it, back in the day when he auditioned, if he wasn't drawn to the role or script, his audition reflected his lack of enthusiasm. The most successful auditions were for roles he especially wanted, such as the scheming chief of staff in the comedy "Dave," which he says was a major career boost. Langella made his Broadway debut in "Yerma" in 1966 and was cast in his first film, Mel Brooks' wild "The Twelve Chairs," in 1970.Despite the auspicious beginning, his career has been defined by many ups and downs and dry periods when he had neither work nor representation. But he never toyed with the idea of doing something else nor even questioned his talent. "When I had difficulty getting work or representation, I told myself it was not a reflection of my ability, but rather a reflection of my demeanor or manner, or it was luck of the draw. I never felt, 'Now I'll go do trash.' My motto is 'Never give up, never give in, if the dream is still strong in you.' If the need to act is so strong it wakes you in the middle of the night, then stay with it." He adds, "If you think you'd kind of like to be an actor because it'll get you laid, or you'd kind of like to be an actor because it'll make you famous, or you'd kind of like to be an actor because it'll make you lots of money and you won't have to work much, then you shouldn't be an actor. You should be a commercial commodity." 'A Distinguished Actor' Langella is aware that most actors don't have the option of being a "commercial commodity." Even he is not getting as many commercial offers as he once was, not that commercial success was ever his ambition. "I've been burdened and stuck with being a 'distinguished' actor," he says with just a hint of irony. "I've never been commercially minded. I like to do what I like to do, and my career has been slow, steady, and long." Though he has appeared in a number of big-budget movies, including "Wall Street: Money Never Sleeps," he is most identified with classical revivals and is not afraid to take on roles identified with major actorssuch as Bela Lugosi in "Dracula" and Paul Scofield in "A Man for All Seasons." Langella also enjoys working in indie films. Among his favorites: "Good Night, and Good Luck," and especially "Starting Out in the Evening," a haunting and unlikely love story in which he plays an aging and nearly forgotten novelist. That said, Langella has appeared in his share of moneymaking projects that were dull and for which he was overqualified. But at the time he had alimony payments and children in private schools, he recalls. Now that he is no longer encumbered in that way, his choices are based on personal aesthetics and instinct. "Frost/Nixon," which started its illustrious journey as a "little play in England," is a perfect example, he says. At the time, he had also been offered the chance to appear in a half-hour series and a pilot for an hourlong series. For Langella the choice was a no-brainer: The "little play" was of far greater interest. Even before "Frost/Nixon" came to his attention, he says, the prospect of sitting in a trailer in Burbank for five years was totally unappealing. He turned down the 30-minute series, and though he agreed to do the pilot for the 60-minute series, he would commit himself no further. The pilot he appeared in was not picked up; the 30-minute sitcom turned into a big hit. Still, he has no regrets. "Frost/Nixon" was one of the greatest stage and film successes of his career. "It's what I say to young actors: 'Hunt quality. It's getting harder to find, but you'll stick around if your name is associated with quality.' So whenever I'm at a juncture, I'm more likely to do that rather than take a role in a film or TV series playing the CEO of some company supporting one of the comedy stars of 'SNL.' 'Let's get that older distinguished guy. He can be behind the desk.' I'm offered a lot of those parts. They're boring, they pay a lot of money, and I turn them down. Not out of any nobility, but this"gesturing around his theater dressing room"is where I get my kicks." Career Strategies are 'Utter Nonsense' Like many actors, Langella acknowledges it's much harder to launch an acting career today than it was when he was starting out in the 1960s, difficult and competitive as it was even then. First, the number of actors attempting to enter the field has grown exponentially, and getting seen is that much more difficult and complex. Gone are the days of pounding the pavement and knocking on producers' doors. Yet Langella feels the strategies young actors use todayfrom hiring managers and publicists to promoting themselves on Facebookare unnecessary. Langella has only one agent and on occasion retains the services of an attorney if he's grappling with a complicated contract. But he does not have a manager, press agent, or stylist. Equally foreign to him is the whole world of networking and social media. Careers are not forged by "making contacts or being at the right place at the right time," he points out. "They want you or they don't. Yes, I know actors who have slept with a casting director or director and gotten a role as a result. But that's not what leads to a sustaining career." He reiterates the importance of belief in yourself and the public's belief in what you have to offer in the theater. "It's my job to transform an evening for 800 people and make an audience forget their day. It's not rocket science, and it's not a cure for cancer, but if I can do that for two and a half hoursthen all the stuff about making contacts is utter nonsense." It's not only actors new on the scene who agonize over career strategies, image boosting, and the right self-positioning. These misguided notions exist throughout the industry, regardless of the actor's age or status, Langella says. He describes visiting actors in Beverly Hills who live in gated communities where one must buzz even to get on the grounds. "These are people locked inside velvet cages, and it's sad," he comments. "And then you have those dinner conversations where they talk about how someone wasn't willing to pay their price, so they decided to pass. They are stretched and pulled and dyed and holding on like crazy to something that is long past. I feel doors should be open metaphorically and literally to whatever is right for you at the moment. I'm not going to fix myself to look like 63. Why would I want to? I would have to compete with 60-year-old actors. There are fewer actors my age." He feels it's no accident he has gotten the best roles of his life over the last 10 years. He cites with pleasure the film "Robot and Frank," to be released in 2012, in which he plays an aging and difficult dad whose adult kids install a robot in his home as his caretaker. And at the moment, he's having a fine time playing Gregor, contemplating the man's twisted psyche and the consequences he faces for his actions. "Whatever your toy of choice, know that one day the battery will run out," Langella says. "We all pay on some level for whatever choices we made. Toward the end of life, people tend to feel they made the wrong choices, but they probably made the right choice at the time." Asked how he would redo his career if that were possible, Langella pauses. "I wish I had said 'yes' more often. I was self-protective and fairly precious. On the other hand, I landed okay.""Man and Boy" continues at the American Airlines Theatre, 227 W. 42nd St., N.Y., through Nov. 27. (212) 719-1300. www.roundabouttheatre.org. Outtakes - Appeared in such Broadway productions as "Fortune's Fool," "Present Laughter," "Hurlyburly," "Seascape," and "Design for Living"- Film appearances include "Diary of a Mad Housewife," "Those Lips, Those Eyes," "Lolita," and "Superman Returns"- Received three Tony Awards, three Obie Awards, and three Outer Critics Circle Awards, as well as Golden Globe, Emmy, and Olivier nominations- His memoir "Dropped Names: Famous Men and Women as I Knew Them" will be published by HarperCollins in March 2012. Frank Langella on Acting, Careerism, and Aging By Simi Horwitz October 5, 2011 Frank Langella in "Man and Boy" PHOTO CREDIT Joan Marcus Playing the unscrupulous international financier Gregor Antonescu in a revival of Terence Rattigan's "Man and Boy," Frank Langella vividly evokes a sly figure devoid of morality who revels in his cruel gamesmanship. He is a man obsessed with amassing large sums of money, with no concern for its legality. Beating the odds is part of the thrill. The year is 1934, and Gregor has taken refuge in his estranged son's West Village apartment, where he manipulates and blackmails associates while attempting to elude the authorities. One of the actor's more striking, albeit subtle, moments occurs toward the end of the second act when Gregor's wife demands that he look at her, acknowledging her existence in some way. It's a bone-chilling few seconds as he turns to face herhis expression an unexpected amalgam of genuine curiosity, malevolence, and even a hint of sadness.A Roundabout Theatre Company production running at the American Airlines Theatre on Broadway, "Man and Boy"with its savagely corrupt businessman and its homosexual overtonesis a timely play. And Gregor is the latest in a long list of complex, contradictory, and unappealing characters Langella has tackled during his close to 50-year career: Think "Amadeus" and "The Father" onstage, "Dracula," and most notably, "Frost/Nixon" on stage and screen. "I like monsters; I like mystery men," Langella says in his dressing room before a preview performance. "It's a clich among actors, but it's true: The most rewarding characters are those who are relentlessly without a conscience, those who travel a journey, start as one thing and through the progress of the evening become something else. That's always interesting. The challenges are breath, focus, energy, and the commitment to a certain kind of evil. This man is determined to survive at all costs, even at the cost of his most intimate relationship, which is with his son. He has a trophy wife and an assistant but really lives to make money. He's a sociopath. It's my job to find those moments of vulnerability without breaking the fabric of who he is." Wearing dungarees and sneakers and eating nuts out of his cupped palm, the 6-foot-2, 73-year-old veteran actor is at once casual and patrician, reserved and forthright, steely and amusedwhether he's talking about the loss of dignity in the social arena, the blurred line between what's private and what's public, or industry trends and the art of acting. He points to a series of aphorisms pinned to his dressing room wall, including "Mean It" and "Leap Empty Handed Into the Void." "That's what you should do as an actor," he says. "Learn your lines, know what they mean, mean them when you say them, and then take it where it takes you. I was once told I act in the wilderness and that I have no point of view. I've come to trust that something will emerge from the wilderness. I like going in every which way during rehearsal. I usually work from the inside out, but sometimes it's the other way around. I may rehearse at top energy or top speed, and then the next day I'll play it low-key. It's all a big cauldron. I throw everything in, see what works, and then do less and less. It starts as a minestrone and then becomes a simple broth. A food analogy," he chortles, cupping more nuts into his mouth. Whatever Langella's method, it's working, asserts "Man and Boy" director Maria Aitken. "He arrives with energy, stagecraft, and presence," she says. "And to this role in particular he brings authority, a diabolical charm, and a willingness to explore his dark side." Adam Driver, who plays Langella's tormented and beleaguered son, notes, "One of his many great qualities onstage is his fearlessness to forget. He walks on and is absolutely fearless with rediscovery, even if that means sacrificing moments he knows are 'working.' " Bad Behavior Born and raised in Bayonne, N.J."and proud of it," he saysLangella began his journey of self-reinvention at an early age. Knowing he wanted to act and determined to lose all regional and ethnic traces in his speech, he assiduously listened to the records of John Gielgud, incorporating as much of the actor's vocal style into his own as possible. Indeed, years later he told Gielgud about his self-improving activities as a youngster; the legendary actor assured him he had succeeded in freeing himself of any Italian-American, New Jersey accent. " 'You're well over it, dear boy,' " Langella mimics. After graduating from Syracuse University, where he majored in drama, Langella ventured into the professional world, where a major challenge was learning how to be more collaborative and cooperative. He admits he was "obstreperous, arrogant, and stubborn." He adds, "Just because I might have been right about something doesn't mean I shouldn't have been more careful. I stopped that in my 50s. No, I don't think that was late. The fact that I stopped at all is remarkable. A lot of actors carry their worst habits to their graves." Nonetheless, Langella says belief in oneself is the key to a successful career, and indeed, self-destructive behavior comes from a lack of belief in oneself. Equally important, an actor needs to believe in the project and truly want to be a part of it. As Langella tells it, back in the day when he auditioned, if he wasn't drawn to the role or script, his audition reflected his lack of enthusiasm. The most successful auditions were for roles he especially wanted, such as the scheming chief of staff in the comedy "Dave," which he says was a major career boost. Langella made his Broadway debut in "Yerma" in 1966 and was cast in his first film, Mel Brooks' wild "The Twelve Chairs," in 1970.Despite the auspicious beginning, his career has been defined by many ups and downs and dry periods when he had neither work nor representation. But he never toyed with the idea of doing something else nor even questioned his talent. "When I had difficulty getting work or representation, I told myself it was not a reflection of my ability, but rather a reflection of my demeanor or manner, or it was luck of the draw. I never felt, 'Now I'll go do trash.' My motto is 'Never give up, never give in, if the dream is still strong in you.' If the need to act is so strong it wakes you in the middle of the night, then stay with it." He adds, "If you think you'd kind of like to be an actor because it'll get you laid, or you'd kind of like to be an actor because it'll make you famous, or you'd kind of like to be an actor because it'll make you lots of money and you won't have to work much, then you shouldn't be an actor. You should be a commercial commodity." 'A Distinguished Actor' Langella is aware that most actors don't have the option of being a "commercial commodity." Even he is not getting as many commercial offers as he once was, not that commercial success was ever his ambition. "I've been burdened and stuck with being a 'distinguished' actor," he says with just a hint of irony. "I've never been commercially minded. I like to do what I like to do, and my career has been slow, steady, and long." Though he has appeared in a number of big-budget movies, including "Wall Street: Money Never Sleeps," he is most identified with classical revivals and is not afraid to take on roles identified with major actorssuch as Bela Lugosi in "Dracula" and Paul Scofield in "A Man for All Seasons." Langella also enjoys working in indie films. Among his favorites: "Good Night, and Good Luck," and especially "Starting Out in the Evening," a haunting and unlikely love story in which he plays an aging and nearly forgotten novelist. That said, Langella has appeared in his share of moneymaking projects that were dull and for which he was overqualified. But at the time he had alimony payments and children in private schools, he recalls. Now that he is no longer encumbered in that way, his choices are based on personal aesthetics and instinct. "Frost/Nixon," which started its illustrious journey as a "little play in England," is a perfect example, he says. At the time, he had also been offered the chance to appear in a half-hour series and a pilot for an hourlong series. For Langella the choice was a no-brainer: The "little play" was of far greater interest. Even before "Frost/Nixon" came to his attention, he says, the prospect of sitting in a trailer in Burbank for five years was totally unappealing. He turned down the 30-minute series, and though he agreed to do the pilot for the 60-minute series, he would commit himself no further. The pilot he appeared in was not picked up; the 30-minute sitcom turned into a big hit. Still, he has no regrets. "Frost/Nixon" was one of the greatest stage and film successes of his career. "It's what I say to young actors: 'Hunt quality. It's getting harder to find, but you'll stick around if your name is associated with quality.' So whenever I'm at a juncture, I'm more likely to do that rather than take a role in a film or TV series playing the CEO of some company supporting one of the comedy stars of 'SNL.' 'Let's get that older distinguished guy. He can be behind the desk.' I'm offered a lot of those parts. They're boring, they pay a lot of money, and I turn them down. Not out of any nobility, but this"gesturing around his theater dressing room"is where I get my kicks." Career Strategies are 'Utter Nonsense' Like many actors, Langella acknowledges it's much harder to launch an acting career today than it was when he was starting out in the 1960s, difficult and competitive as it was even then. First, the number of actors attempting to enter the field has grown exponentially, and getting seen is that much more difficult and complex. Gone are the days of pounding the pavement and knocking on producers' doors. Yet Langella feels the strategies young actors use todayfrom hiring managers and publicists to promoting themselves on Facebookare unnecessary. Langella has only one agent and on occasion retains the services of an attorney if he's grappling with a complicated contract. But he does not have a manager, press agent, or stylist. Equally foreign to him is the whole world of networking and social media. Careers are not forged by "making contacts or being at the right place at the right time," he points out. "They want you or they don't. Yes, I know actors who have slept with a casting director or director and gotten a role as a result. But that's not what leads to a sustaining career." He reiterates the importance of belief in yourself and the public's belief in what you have to offer in the theater. "It's my job to transform an evening for 800 people and make an audience forget their day. It's not rocket science, and it's not a cure for cancer, but if I can do that for two and a half hoursthen all the stuff about making contacts is utter nonsense." It's not only actors new on the scene who agonize over career strategies, image boosting, and the right self-positioning. These misguided notions exist throughout the industry, regardless of the actor's age or status, Langella says. He describes visiting actors in Beverly Hills who live in gated communities where one must buzz even to get on the grounds. "These are people locked inside velvet cages, and it's sad," he comments. "And then you have those dinner conversations where they talk about how someone wasn't willing to pay their price, so they decided to pass. They are stretched and pulled and dyed and holding on like crazy to something that is long past. I feel doors should be open metaphorically and literally to whatever is right for you at the moment. I'm not going to fix myself to look like 63. Why would I want to? I would have to compete with 60-year-old actors. There are fewer actors my age." He feels it's no accident he has gotten the best roles of his life over the last 10 years. He cites with pleasure the film "Robot and Frank," to be released in 2012, in which he plays an aging and difficult dad whose adult kids install a robot in his home as his caretaker. And at the moment, he's having a fine time playing Gregor, contemplating the man's twisted psyche and the consequences he faces for his actions. "Whatever your toy of choice, know that one day the battery will run out," Langella says. "We all pay on some level for whatever choices we made. Toward the end of life, people tend to feel they made the wrong choices, but they probably made the right choice at the time." Asked how he would redo his career if that were possible, Langella pauses. "I wish I had said 'yes' more often. I was self-protective and fairly precious. On the other hand, I landed okay.""Man and Boy" continues at the American Airlines Theatre, 227 W. 42nd St., N.Y., through Nov. 27. (212) 719-1300. www.roundabouttheatre.org. Outtakes - Appeared in such Broadway productions as "Fortune's Fool," "Present Laughter," "Hurlyburly," "Seascape," and "Design for Living"- Film appearances include "Diary of a Mad Housewife," "Those Lips, Those Eyes," "Lolita," and "Superman Returns"- Received three Tony Awards, three Obie Awards, and three Outer Critics Circle Awards, as well as Golden Globe, Emmy, and Olivier nominations- His memoir "Dropped Names: Famous Men and Women as I Knew Them" will be published by HarperCollins in March 2012.

10 Great Disney Images Worth Needing to pay to find out in 3-D

The Lion King 3d’s box-office success is admirable alone, but Disney is searching to improve its development of 3-D reboots in the staggering way: Beauty as well as the Animal, The Little Mermaid, Finding Nemo and Monsters Corporation. are coming back to theaters in 3-D next couple of years. That’s fine, however can consider 10 great Disney pictures off their animated classics that deserve full-bodied restoration: 10. Pocahontas’s inspired kayaking Pocahontas, the initial movie to coach us our Native American forebears were just stern-searching Kardashians, featured most likely probably the most gorgeous musical sequences in the decade with “Just Across the Riverbend” which is ferocious waterfall imagery. Sure, “Colors in the Wind” might be the Oscar-champion, but 3-D could elevate this sequence the way aided The Lion King’s stunning character. There’s another factor so… Working Girl about “Just Across the Riverbend.” Carly Simon should sing it inside the 3-D version while a shoulder-padded Joan Cusack plays Meeko. 9. Every time Jafar brandishes that tacky staff in Aladdin Jafar, the best villain from the or any other film epoch, is 3-D by themself: His twisted beard, Aerosmithian sneers and lush costuming pop on the watch's screen like kettle corn. That doesn’t mean his gilded cobra staff warrants anything within 3-D overhaul. Its pulsing evil eyes would turn audiences into sputtering street rats. 8. Pinocchio’s dubious debut 70 years after it first opened up up, Pinocchio remains a marvel. The titular puppet boy’s expressions are scrumptious and realistic, the terror in the story works well, together with a disturbing surreality remains inside the proceedings (which is not unlike Awesome World). The “I’ve Got No Strings” bit might be splendid in 3-D, plus it’d make Pinocchio’s jaunty steps appear like something from Toy Story. 7. Fantasia’s rapturous “Rhapsody” If any movie might be worth coming back to in alarming 3-D, it’s Fantasia 2000. You might have your “Sorcerer’s Apprentice” bit to yourself we love to the urban, sophisticated “Rhapsody in Blue” section where the New you are able to city skyline is monitored, colored in and looked into. The scaffold sequences would look as grand since the eye-popping door world from Monsters Corporation. 6. Kaa’s hissy hypnosis Sterling Holloway’s sinister voice work definitely makes the Jungle Book’s lizard Kaa so captivating, nevertheless the character’s slithering and winding was pretty revelatory in 󈦤. Since we’ve already found that hypnosis can be a 3-D treat due to Jafar, I implore Disney to reopen Mowgli’s story and allowed this to freaky python undulate over audience’s heads. 5. The evil full’s terrifying mirror buddy in Snow White-colored Vanity! That ancient villain standard. Snow White-colored started everything for Wally in 1937, and many types of these years later, the appearance in the Evil Full’s mirror as well as the chilling face therein are extremely unsettling. Since you will discover no less than two Snow White-colored projects slated for next season, it appears Hollywood hasn’t forgotten that menacing mirror either. Charlize Theron, works it! 4. Winnie the Pooh’s Heffalump psychedelia I’ve sputtered incredulously relevant for this before, but Winnie the Pooh has loved some trippy adventures. The nuttiest one carried out within the Disney feature The Various Adventures of Winnie the Pooh, where the adorable toy is suffering from a hallucinatory dream through which Heffalumps, Woozles and honeypots conspire to terrorize him. Let’s uncover their location leap at us too! 3. Toy Story’s unholy claw The crane aliens at Toy Story’s Pizza Planet express our awe well: The claw chooses who'll go and who'll stay! People metallic tentacles canted vertiginously over Buzz Lightyear’s mind lead to the film’s creepiest moment. A whole lot worse, Sid’s the primary one operating the controls. I’d pay a sweet $16 (again!) to find out people teeth clamp lower by having an audience of preteens. 2. Aladdin and Jasmine’s travels with Peabo Bryson Though Beauty as well as the Animal’s ballroom scene might be as well as-suggested achievement of early 󈨞s Disney, I’d say Aladdin’s miracle carpet ride ranks just like a transcendent movie treasure much like E.T.’s ride a bicycle. The song is lovely, the vistas are apparent and three-D gives an entire " " new world " " of splendor. Carpeting’s actions alone might be heartstopping. 1. Cruella p Vil’s slight road rage An unconventional No. 1, yes, but 101 Dalmatians’s Cruella P Vil, that gaunt Tallulah Bankhead clone, looks positively deranged throughout her climactic brush with road rage at movie’s finish. Much like Pongo, Perdita as well as the youthful young puppies escape around the truck, Cruella flies in to a fury which will traumatize Jafar, Kaa and every Heffalump. People eyes! The Three-D may also be the horror of three-D, so when Cruella’s rigid mandible can hurtle at us in jarring reality, we love to a moviegoing populace need to witness it.

Ough Gervais Golden Globes return planned

Ough Gervais' debate-packed presentation from the year's Golden Globes was our favourite moments of 2011.Plus it seems like we'll receive lots of same in 2012, although really different format.Writing for your Wall Street Journal, Gervais revealed: "I don't think I will host the Golden Globes again, even if I'm asked for that is very unlikely, in truth...InchBut because of the best factor about society, freedom of speech, I am in a position to still host the Golden Globes, or any event on the planet.InchI'm utilizing a Californian technology company around the live webcast idea."People watch their TV concurrently as hearing me together with a few chums provide our personal alternative commentary.""This is not to steal anyone's thunder, or disrupt enjoyable society. It is simply a brand new horizon. Too for its sake."I have not a clue whether or not this works however i didn't determine whether podcasting works in 2005 once i launched The Ough Gervais Show."I didn't particularly care either. I used to be carrying it out for just about any laugh. You will discover very couple of better top reasons to do just about anything.InchWe cannot wait. Ultimately, Gervais required to run his jokes past the Golden Globes producers a year ago, which he still made mind lines around the globe.What is likely to he created if he's completely unfettered by any kind of censorship?Also, 'me together with a few chums' causes us to think that Karl Pilkington will participate in the webcast eventually.Karl Pilkington hosting the Golden Globes? Now that's something we'd pay to find out. Or give consideration to.

AFTRA gives strike authorization

Leaders from the American Federation of Television & Radio Artists have given a strike authorization to arbitrators within the union's seem recording contract. AFTRA's national board chosen all for that authorization in the meeting Saturday. Discussions using the labels had released in mid-August The present pact expires 12 ,. 31 so they cover performers, royalty and non-royalty artists, announcers, stars, comics, narrators and seem effects artists who focus on tracks in most new and traditional media and all sorts of music formats, additionally to audio books, comedy albums and cast albums. Anything creates a lot more than $140 million yearly in earnings and benefits for artists and session performers.The present contract was discussed in 2007 having a June 2010 expiration however the pact was extended by 18 several weeks.Discussions between AFTRA and reps from The new sony, UMG, Warner, EMI, Disney and many of the subsidiary labels for any successor agreement one more round of negotiating locked in La a few days of Sept. 12-16. One more negotiating date continues to be looking for Wednesday.The AFTRA board people also all approved the appointment of their Network Television Code Settling Committee. AFTRA National Leader Roberta Reardon will chair the 25-member committee and national professional director Kim Roberts Hedgpeth assists as chief negotiator.The internet code creates a lot more than $300 million annually in member earnings so they cover programming outdoors primetime drama and sitcoms including dramas in first-run distribution, morning news shows, talk shows, serials (cleaning soap operas), variety, reality, contest and sports.Current programs covered include: "Hello America," "The Vista,Inch "The Cost is appropriate,Inch "General Hospital," "Saturday Evening Live," "Dwts,Inch "The Voice," "Survivor," "20/20," "Deal or No Deal" and "Late Show with David Letterman,""To be able to prevail, professional union talent must stand together and organize themselves through their Union to ensure that together they are able to secure strong contracts," Hedgpeth stated. AFTRA stated the meeting incorporated discussion from the ongoing effort to merger using the Screen Stars Guild. The very first two formal conferences between reps from the AFTRA and SAG happen to be exercising particulars from the merger plan included in the official procedure for delivering a merger plan by next The month of january. An associate election could occur by spring through the 120,000 people of SAG and also the 70,000 people of AFTRA -- with 45,000 people owned by both. The following official meeting between union leaders to prep the merger proposal will occur March. 14-18 in La. National Treasurer Matthew Kimbrough told the board Saturday that AFTRA has elevated its plan for One Union-related expenses by another $115,000 to a lot more than $1.5 million. Reardon -- that has been pushing for any merger since she grew to become leader 4 years ago -- released an argument saying the orgs have to combined at any given time when labor is under attack."The Labor Movement is facing tremendous challenges all across the nation,Inch she stated. "Union density is decreasing both in the private and public industries, as well as in mature and emerging industries alike. Entertainers and experts who operate in the entertainment and media industries aren't immune from all of these challenges. For this reason our use Screen Stars Guild to construct one new union its our people is really timely and thus important.Competitors have asserted that SAG will forfeit its character being an stars union whether it merges with AFTRA which the combo will not solve ongoing problems -- for example separate health insurance and retirement plans. Reardon stated individuals concerns are misplaced because of fast-altering conditions."We're creating a bigger, more powerful and much more expansive union, both when it comes to amounts and jurisdiction," she stated. "The world of labor we cover has transformed essentially, which means this project isn't nearly our overall health and retirement benefits, and never nearly two teams of dues. It comes down to the and the way forward for the and just how we stay unionized later on." Contact Dork McNary at dork.mcnary@variety.com