Diddys Boy Headed To UCLA On Football Scholarship

First Launched: November 29, 2011 11:19 AM EST Credit: FilmMagic Caption Sean Diddy Hair hair combs/Justin CombsLOS ANGELES, Calif. -- Diddys boy takes his talents for the football area. Justin Hair hair combs, the fashionable-hop moguls boy, is headed to UCLA around the full football scholarship, it absolutely was introduced on Tuesday. Today I am truly fortunate and grateful to just accept my scholarship and supply my full persistence for UCLA. Playing division I football will be a long-term imagine mine, and through effort I possibly could get it done, Justin mentioned in the statement to get into Hollywood. I am a living testament using a effective relationship with God, family, and energy dreams can be found true. Despite the fact that boy will possibly not be following in fathers musical actions Diddy could not be prouder of UCLAs new sports personality. Motherhood, today is probably the proudest moments of my existence. That is everything a parent or gaurdian could want for his boy, for him to stick out at what he loves to do which is truly passionate about, Diddy mentioned in the statement released to get into. Justin can be a shining instance of what effort, determination together with a powerful attitude is capable of doing. I am honored to phone him my boy and am happy that he's fulfilling his dream. Justin, a 59, 170 pound defensive back, had his choice of hugely college programs to choose from furthermore to UCLA, he appeared to become offered scholarship grants or loans with the College of Illinois, the school of Virginia as well as the College of Wyoming. The teen also boasted a 3.75 GPA in secondary school just like a student at Iona Prep in New Rochelle, NY. While UCLA has one or more of the stars-to-be guaranteed, just what the school doesn't have can be a football coach for next season on Monday, the school introduced it absolutely was cutting ties with mind coach Ron Neuheisel, undertaking a 50- loss to crosstown rivals USC. Justin won't be the initial boy from the stylish-hop star to see sports for just about any school within the civilized world Shores Pac-12 conference Master Ps boy Romeo Burns (also called Lil Romeo) was area of the basketball team for your College of La in 2008-2009. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Leonardo DiCaprio on Embodying J. Edgar Hoover

Leonardo DiCaprio on Embodying J. Edgar Hoover By Jenelle Riley November 23, 2011 Photo by Kevin Winter/Getty Images Leonardo DiCaprio has been a star for so long, it can be easy to forget he is also an actoran amazing one at that. He is an instinctive talent whose first major film role was opposite Robert De Niro in "This Boy's Life" and who earned his first Oscar nomination at 19 for his flawless portrait of Johnny Depp's mentally challenged brother in "What's Eating Gilbert Grape." Although the 1997 phenomenon "Titanic" turned him into a worldwide celebrity, DiCaprio never took on the kind of easy paychecks that might have tempted others. Even from a young age, he seemed determined to seek roles that challenged him personally and paired him with top filmmakersSteven Spielberg, Martin Scorsese, and Clint Eastwood heading the list. But it often seemed that even though DiCaprio is beloved by the masses, his most solid work has gone unnoticed. He was praised for lending his star power to "Inception," Christopher Nolan's art house film disguised as a big-budget blockbuster. Yet his heartbreaking performance remained largely underrated. Accolades and awards are often lavished on his co-stars, be it Daniel Day-Lewis in "Gangs of NY" or Kate Winslet in "Titanic" and "Revolutionary Road," while DiCaprio has consistently made his job look easy. Instead, DiCaprio is an inherently talented actor who studies and prepares intensely for his roles. His abilities are currently on display as the title character in "J. Edgar," a biopic about FBI head J. Edgar Hoover (18951972), whose contributions to crime fighting might be overshadowed only by his controversial tactics. For that role in the Eastwood-directed film, the actor took a fraction of his $20 million fee and studied every angle of trivia, including assertions that Hoover was gay and a cross-dresser. It's a bravura performance, one that's sure to net him his fourth Academy Award nomination, if not the win. After all, DiCaprio gets the golden trifecta as Hoover: He gets to play gay, age 50 years, and die.Back Stage: You started in commercials at a young age; at what point did you realize acting was a career? Leonardo DiCaprio: I've used this quote before, but I really mean it: I always felt like being an actor was an elite club I never really belonged to. My stepbrother was an actor in commercials and TV shows all throughout my youth, and I loved acting. I loved imitating people I loved drama class; I loved joking around with my parents and creating different characters. I liked doing my own little homemade skits. I always wanted to be an actor, but no agent would accept me for many years. I tried to go to many different agents, and they didn't want to accept me. I think because I was break dancing at the time and had a weird, punkish haircut and dressed like a street kid. Back Stage: When did you finally get a foothold in the business? DiCaprio: I finally got accepted by an agent when I was 12 or 13 years old. If it wasn't for the fact I lived in Hollywood, I don't think I would be an actor. I grew up in the heart of Hollywood, on Hollywood and Western, for the first nine years of my life. It was kind of Prostitution Alley back then. But I got to go to this really wonderful school, which was University Elementary School, UES, which is a magnate program of UCLA. They accepted me on scholarship. So my mom sacrificed her time every day driving from Hollywood to Westwood, stuck in traffic every day. It would be a 45-minute ride there and back every day; she had to pick me up because the bus didn't go there. And when I started to be an actor, she let me go on auditions and would drop me off. If I was born in Ohio and had the dream of being an actor, I don't think I'd be here today. Financially, we couldn't have uprooted and moved here. Back Stage: Well, it might have happened; it just would have taken longer, don't you think? DiCaprio: To be honest, I think that life is a series of being incredibly prepared for that one opportunity. And that one opportunity may have never come along for me, you know? I had that one opportunity with "This Boy's Life," and I was lucky enough to have gotten that role. I was in the right place at the right time.Back Stage: Is it true Robert De Niro handpicked you for the role of his stepson in "This Boy's Life"? DiCaprio: It was the director, Michael Caton-Jones, and De Niro. It was a very coveted role, there were hundreds of kids auditioning for it, and it came down to the wire with myself, Tobey [Maguire], and one or two other kids. I just got lucky that day. We did this final audition with De Niro and Michael, and luckily, they saw something in me. I believe it was De Niro who said they should go with me, but you'd have to ask him that question; I don't know exactly how that went down. And when you ask him, I'd love to hear the answer! [Laughs.]Back Stage: Is there anything that stands out about that audition that might have helped you snag the role? DiCaprio: I remember screaming at De Niro in the audition. We did a scene where he's ramming a mustard jar in my eye and yelling at me, and I remember he was getting really intense with me because, you know, the character is an abusive father. He was getting in my face, and I remember yelling at him. It wasn't in the script; it was improvised. And then there was sort of a chuckle in the room; I remember them laughing and not really understanding why they were laughing. I think it was because he got me really angry, and they liked how I responded. That's what my memory serves, but his could be a completely different interpretation. They could have sat there and said, "Wow, this kid's ridiculous, but let's give him a shot."Back Stage: You were working with icons like De Niro at an early age, which had to be intimidating. By that same token, are you aware of how you might be intimidating to some of your co-stars? DiCaprio: I definitely can see how people in the public eye can make others comfortable or uncomfortable, and I try my best to let things sort of happen naturallyon set and in life, too. I don't think about it that much, because I do consider myself a pretty relatively normal human being, although my life is incredibly bizarre. I sometimes try to figure out how people perceive me, but it's something you can never truly understand. I know how I feel amongst people who are in the public eye, and there's always a little bit of wariness around themit's like there's an elephant in the room. So I try my best not to think about that type of thing, or I could be endlessly trying to figure it out. Back Stage: Because you are a celebrity, do you ever feel you don't get the respect you deserve as an actor? DiCaprio: I think that it's incredibly important to listen to criticism. I consider myself what I consider myself, and that is somebody that's always trying to be better. No matter what anybody thinks about my work, I'm constantly trying to improve, and I really do care about what I do on a very deep level, and it does affect my life on a very deep level. It is my life's passion. I'm very lucky to know this is something I wanted to do ever since I was very young. It's my earliest memory. And I feel fortunate for that. With every role that I've chosen or every movie I've been a part of, I always think about the unbelievable accomplishments of actors and directors in the past and how many great performances have been given, and how many great films there have been in cinema's history. And I have a great amount of respect for that. So I suppose my endless, unattainable goal is to do something that is as good as I see in cinema's past. And I don't know if I will ever, on a personal level, believe that I have accomplished that. I don't know if I'll ever sit here and see a film and say, "This is absolutely everything I ever dreamed of on a personal or cinematic level." But that's what sort of drives me. When I was 15 and I got that part in "This Boy's Life," I sat for a year and just watched every damn movie I possibly could, and I was just awestruck by what's been accomplished. From first seeing Jimmy Cagney in "Public Enemy," all the way to some of the great actors of today, there have been so many great performances. Back Stage: From a young age, you've made interesting choices in your roles. Were you operating on instinct, or did you have a plan for your career? DiCaprio: From the beginning, I considered it an honor, and I still do, just to be able to do what I do professionally. I never forget I came from a group of young actors, and not everyone gets to be so lucky to do what we do. It's a huge honor, and something I don't want to disrespect. I remember my second movie being "Gilbert Grape" I remember having the opportunity to do another type of movie at that timeI think it was "Hocus Pocus"and I was offered more money than I ever dreamed of in my life in one go. But there was something about that role in "Gilbert Grape" that made me say, "You know what? I'm going to pass on this and go for this other role." I don't know quite where that came from as a 16-year-old kid, but seeing all those movies in that time period made me really want to play that Arnie Grape character. And for whatever reason, I was just hooked at that point. Back Stage: Have you ever taken acting classes or worked with a coach? DiCaprio: I took junior high and high school drama class. From a young age, I read a lot of books about the Meisner technique and Stanislavsky. But I never reconnected with it until I got to start working with Larry Moss in my 20s. Larry's class is an amazing one. He takes it from a psychological level of conquering your own fears and fighting your inhibitions and taking chances. We all have these emotions we carry around within us, but to be able to release them as an actor is fundamental. Acting and psychology are two sides of the same coin for him. Back Stage: What was the first film you worked with him on, and do you still work with him? DiCaprio: "The Aviator." And I consult with him all the time. If it's not a series of meetings, I always consult with him before every movie, just to bat around different character ideas and talk about the creation of what kind of decisions I want to make as an actor. It's incredibly beneficial to have that bouncing board and somebody to challenge you artistically like that.Back Stage: What sort of practical advice would you offer actors? DiCaprio: I've had young people come up to me and ask me about acting and how to get into the industry, and I always talk about preparation. Go to acting class; learn the fundamentals. Then go to L.A., where all the auditions are. Those are the first two things. And the third thing is, know your damn lines. Know your lines inside and out, to the point at which they become secondhand. Like everyone else, I'm a big fan of Stanley Kubrick; I really wish I could have worked with him. There was something about the way he worked with his actors, a certain exhaustion all his actors had and a certain naturalness in the way they said their lines. It's because they were doing 50 to 100 takes sometimes. There's no way they didn't know every next word that was coming out of their mouth. There was a certain calm and easeeven when you're insane like Jack Nicholson in "The Shining"there's a certain ease that you have with your dialogue where you can play around. And the ability to play around comes with being prepared and knowing who your character is and what they're going to say. Then you can improv and do other things, because you have the roots and you can create the branches and leaves. But you have to know the fundamentals, and the most important fundamental is: Know what you're going to say.Back Stage: What interested you in playing J. Edgar Hoover? DiCaprio: I'd been involved with another project for a few years, "Public Enemies," where I started to read up on Hoover. I was involved in the development process with Michael Mann, but I forget what happened. I think it was scheduling conflicts, and then Michael started developing it on his own for a while, and it became more of an all-Dillinger story as opposed to a two-hander. So the idea of doing a movie about that era and J. Edgar Hoover was always sort of in my subconscious. When I heard that Dustin Lance Black, who did "Milk," had done a script, I immediately got it and read it. It was one of those screenplays that brought up a million more questions for meabout his personal life, what motivated him, who he was, what he was involved with historically in our country and government. Dustin really captured the essence of him. And who doesn't want to work with Clint Eastwood? I knew it was a character I had to sink my teeth into. I started to research him immediately, even though I didn't necessarily have the role yet. Back Stage: How did you go about getting into the skin of Hoover? DiCaprio: It was incredibly challenging; I put a lot of research and preparation into it. I got to go to Washington, D.C., and retrace Hoover's steps, and go into his old house and see the place where he died in his living room. I got to go to the FBI and stand in his office and see the view and where he ate with Clyde Tolson every day in his corner booth. I got to fly down to North Carolina and meet Deke Deloach, the last man who worked with Hoover who knew him on an intimate level. It really was a lot of fun and really shaped the Hoover I tried to put up onscreen. Back Stage: You've played your share of real-life people; what's the appeal for you? DiCaprio: I do love playing historical figures simply because there's so much incredibly diverse interesting information about a character when you can research their life. A lot of the stuff you'd never be able to make up as a writer. You'd say, that's completely unrealisticHoover would never do that! It's just so interesting to try and embody somebody like that. It's a different process on something like "Inception," where it's more months of sitting down with the director and shaping the character's subplot and making up their history. I enjoy them both, but I must admit I love playing people where a lot of the answers are already out there, because it's shocking to find out what people have really done in the real world.Back Stage: You've also played your share of unreliable narrators; any reason you're drawn to those roles? DiCaprio: Yeah. I like that term, "unreliable narrator." Recently, people have been asking me about the type of decisions I've made, and I think something I'm going to continue to do is not question why I'm drawn to certain types of roles or genres of movies. You feel like you have to be of service to something, and I feel like whatever it is about those characterswhether they're unreliable narrators or some sort of dysfunction, or have some sort of similarity to other charactersthere's a reason I want to play them, and I don't want to question that. Like I said, I feel very honored to be able to pick and choose what I do. So I'm just going to continue not questioning it.Outtakes Received Oscar nominations for "What's Eating Gilbert Grape," "The Aviator," and "Blood Diamond" won a Golden Globe Award for "The Aviator"Is shooting "The Great Gatsby" with director Baz Luhrmann, then set to film a role in Quentin Tarantino's "Django Unchained"An active environmentalist, he produced and narrated "The 11th Hour," a documentary about the global environment.His company, Appian Way Productions, has produced such films as "Red Riding Hood," "Orphan," and "The Assassination of Richard Nixon." Leonardo DiCaprio on Embodying J. Edgar Hoover By Jenelle Riley November 23, 2011 PHOTO CREDIT Kevin Winter/Getty Images Leonardo DiCaprio has been a star for so long, it can be easy to forget he is also an actoran amazing one at that. He is an instinctive talent whose first major film role was opposite Robert De Niro in "This Boy's Life" and who earned his first Oscar nomination at 19 for his flawless portrait of Johnny Depp's mentally challenged brother in "What's Eating Gilbert Grape." Although the 1997 phenomenon "Titanic" turned him into a worldwide celebrity, DiCaprio never took on the kind of easy paychecks that might have tempted others. Even from a young age, he seemed determined to seek roles that challenged him personally and paired him with top filmmakersSteven Spielberg, Martin Scorsese, and Clint Eastwood heading the list. But it often seemed that even though DiCaprio is beloved by the masses, his most solid work has gone unnoticed. He was praised for lending his star power to "Inception," Christopher Nolan's art house film disguised as a big-budget blockbuster. Yet his heartbreaking performance remained largely underrated. Accolades and awards are often lavished on his co-stars, be it Daniel Day-Lewis in "Gangs of NY" or Kate Winslet in "Titanic" and "Revolutionary Road," while DiCaprio has consistently made his job look easy. Instead, DiCaprio is an inherently talented actor who studies and prepares intensely for his roles. His abilities are currently on display as the title character in "J. Edgar," a biopic about FBI head J. Edgar Hoover (18951972), whose contributions to crime fighting might be overshadowed only by his controversial tactics. For that role in the Eastwood-directed film, the actor took a fraction of his $20 million fee and studied every angle of trivia, including assertions that Hoover was gay and a cross-dresser. It's a bravura performance, one that's sure to net him his fourth Academy Award nomination, if not the win. After all, DiCaprio gets the golden trifecta as Hoover: He gets to play gay, age 50 years, and die.Back Stage: You started in commercials at a young age; at what point did you realize acting was a career? Leonardo DiCaprio: I've used this quote before, but I really mean it: I always felt like being an actor was an elite club I never really belonged to. My stepbrother was an actor in commercials and TV shows all throughout my youth, and I loved acting. I loved imitating people I loved drama class; I loved joking around with my parents and creating different characters. I liked doing my own little homemade skits. I always wanted to be an actor, but no agent would accept me for many years. I tried to go to many different agents, and they didn't want to accept me. I think because I was break dancing at the time and had a weird, punkish haircut and dressed like a street kid. Back Stage: When did you finally get a foothold in the business? DiCaprio: I finally got accepted by an agent when I was 12 or 13 years old. If it wasn't for the fact I lived in Hollywood, I don't think I would be an actor. I grew up in the heart of Hollywood, on Hollywood and Western, for the first nine years of my life. It was kind of Prostitution Alley back then. But I got to go to this really wonderful school, which was University Elementary School, UES, which is a magnate program of UCLA. They accepted me on scholarship. So my mom sacrificed her time every day driving from Hollywood to Westwood, stuck in traffic every day. It would be a 45-minute ride there and back every day; she had to pick me up because the bus didn't go there. And when I started to be an actor, she let me go on auditions and would drop me off. If I was born in Ohio and had the dream of being an actor, I don't think I'd be here today. Financially, we couldn't have uprooted and moved here. Back Stage: Well, it might have happened; it just would have taken longer, don't you think? DiCaprio: To be honest, I think that life is a series of being incredibly prepared for that one opportunity. And that one opportunity may have never come along for me, you know? I had that one opportunity with "This Boy's Life," and I was lucky enough to have gotten that role. I was in the right place at the right time.Back Stage: Is it true Robert De Niro handpicked you for the role of his stepson in "This Boy's Life"? DiCaprio: It was the director, Michael Caton-Jones, and De Niro. It was a very coveted role, there were hundreds of kids auditioning for it, and it came down to the wire with myself, Tobey [Maguire], and one or two other kids. I just got lucky that day. We did this final audition with De Niro and Michael, and luckily, they saw something in me. I believe it was De Niro who said they should go with me, but you'd have to ask him that question; I don't know exactly how that went down. And when you ask him, I'd love to hear the answer! [Laughs.]Back Stage: Is there anything that stands out about that audition that might have helped you snag the role? DiCaprio: I remember screaming at De Niro in the audition. We did a scene where he's ramming a mustard jar in my eye and yelling at me, and I remember he was getting really intense with me because, you know, the character is an abusive father. He was getting in my face, and I remember yelling at him. It wasn't in the script; it was improvised. And then there was sort of a chuckle in the room; I remember them laughing and not really understanding why they were laughing. I think it was because he got me really angry, and they liked how I responded. That's what my memory serves, but his could be a completely different interpretation. They could have sat there and said, "Wow, this kid's ridiculous, but let's give him a shot."Back Stage: You were working with icons like De Niro at an early age, which had to be intimidating. By that same token, are you aware of how you might be intimidating to some of your co-stars? DiCaprio: I definitely can see how people in the public eye can make others comfortable or uncomfortable, and I try my best to let things sort of happen naturallyon set and in life, too. I don't think about it that much, because I do consider myself a pretty relatively normal human being, although my life is incredibly bizarre. I sometimes try to figure out how people perceive me, but it's something you can never truly understand. I know how I feel amongst people who are in the public eye, and there's always a little bit of wariness around themit's like there's an elephant in the room. So I try my best not to think about that type of thing, or I could be endlessly trying to figure it out. Back Stage: Because you are a celebrity, do you ever feel you don't get the respect you deserve as an actor? DiCaprio: I think that it's incredibly important to listen to criticism. I consider myself what I consider myself, and that is somebody that's always trying to be better. No matter what anybody thinks about my work, I'm constantly trying to improve, and I really do care about what I do on a very deep level, and it does affect my life on a very deep level. It is my life's passion. I'm very lucky to know this is something I wanted to do ever since I was very young. It's my earliest memory. And I feel fortunate for that. With every role that I've chosen or every movie I've been a part of, I always think about the unbelievable accomplishments of actors and directors in the past and how many great performances have been given, and how many great films there have been in cinema's history. And I have a great amount of respect for that. So I suppose my endless, unattainable goal is to do something that is as good as I see in cinema's past. And I don't know if I will ever, on a personal level, believe that I have accomplished that. I don't know if I'll ever sit here and see a film and say, "This is absolutely everything I ever dreamed of on a personal or cinematic level." But that's what sort of drives me. When I was 15 and I got that part in "This Boy's Life," I sat for a year and just watched every damn movie I possibly could, and I was just awestruck by what's been accomplished. From first seeing Jimmy Cagney in "Public Enemy," all the way to some of the great actors of today, there have been so many great performances. Back Stage: From a young age, you've made interesting choices in your roles. Were you operating on instinct, or did you have a plan for your career? DiCaprio: From the beginning, I considered it an honor, and I still do, just to be able to do what I do professionally. I never forget I came from a group of young actors, and not everyone gets to be so lucky to do what we do. It's a huge honor, and something I don't want to disrespect. I remember my second movie being "Gilbert Grape" I remember having the opportunity to do another type of movie at that timeI think it was "Hocus Pocus"and I was offered more money than I ever dreamed of in my life in one go. But there was something about that role in "Gilbert Grape" that made me say, "You know what? I'm going to pass on this and go for this other role." I don't know quite where that came from as a 16-year-old kid, but seeing all those movies in that time period made me really want to play that Arnie Grape character. And for whatever reason, I was just hooked at that point. Back Stage: Have you ever taken acting classes or worked with a coach? DiCaprio: I took junior high and high school drama class. From a young age, I read a lot of books about the Meisner technique and Stanislavsky. But I never reconnected with it until I got to start working with Larry Moss in my 20s. Larry's class is an amazing one. He takes it from a psychological level of conquering your own fears and fighting your inhibitions and taking chances. We all have these emotions we carry around within us, but to be able to release them as an actor is fundamental. Acting and psychology are two sides of the same coin for him. Back Stage: What was the first film you worked with him on, and do you still work with him? DiCaprio: "The Aviator." And I consult with him all the time. If it's not a series of meetings, I always consult with him before every movie, just to bat around different character ideas and talk about the creation of what kind of decisions I want to make as an actor. It's incredibly beneficial to have that bouncing board and somebody to challenge you artistically like that.Back Stage: What sort of practical advice would you offer actors? DiCaprio: I've had young people come up to me and ask me about acting and how to get into the industry, and I always talk about preparation. Go to acting class; learn the fundamentals. Then go to L.A., where all the auditions are. Those are the first two things. And the third thing is, know your damn lines. Know your lines inside and out, to the point at which they become secondhand. Like everyone else, I'm a big fan of Stanley Kubrick; I really wish I could have worked with him. There was something about the way he worked with his actors, a certain exhaustion all his actors had and a certain naturalness in the way they said their lines. It's because they were doing 50 to 100 takes sometimes. There's no way they didn't know every next word that was coming out of their mouth. There was a certain calm and easeeven when you're insane like Jack Nicholson in "The Shining"there's a certain ease that you have with your dialogue where you can play around. And the ability to play around comes with being prepared and knowing who your character is and what they're going to say. Then you can improv and do other things, because you have the roots and you can create the branches and leaves. But you have to know the fundamentals, and the most important fundamental is: Know what you're going to say.Back Stage: What interested you in playing J. Edgar Hoover? DiCaprio: I'd been involved with another project for a few years, "Public Enemies," where I started to read up on Hoover. I was involved in the development process with Michael Mann, but I forget what happened. I think it was scheduling conflicts, and then Michael started developing it on his own for a while, and it became more of an all-Dillinger story as opposed to a two-hander. So the idea of doing a movie about that era and J. Edgar Hoover was always sort of in my subconscious. When I heard that Dustin Lance Black, who did "Milk," had done a script, I immediately got it and read it. It was one of those screenplays that brought up a million more questions for meabout his personal life, what motivated him, who he was, what he was involved with historically in our country and government. Dustin really captured the essence of him. And who doesn't want to work with Clint Eastwood? I knew it was a character I had to sink my teeth into. I started to research him immediately, even though I didn't necessarily have the role yet. Back Stage: How did you go about getting into the skin of Hoover? DiCaprio: It was incredibly challenging; I put a lot of research and preparation into it. I got to go to Washington, D.C., and retrace Hoover's steps, and go into his old house and see the place where he died in his living room. I got to go to the FBI and stand in his office and see the view and where he ate with Clyde Tolson every day in his corner booth. I got to fly down to North Carolina and meet Deke Deloach, the last man who worked with Hoover who knew him on an intimate level. It really was a lot of fun and really shaped the Hoover I tried to put up onscreen. Back Stage: You've played your share of real-life people; what's the appeal for you? DiCaprio: I do love playing historical figures simply because there's so much incredibly diverse interesting information about a character when you can research their life. A lot of the stuff you'd never be able to make up as a writer. You'd say, that's completely unrealisticHoover would never do that! It's just so interesting to try and embody somebody like that. It's a different process on something like "Inception," where it's more months of sitting down with the director and shaping the character's subplot and making up their history. I enjoy them both, but I must admit I love playing people where a lot of the answers are already out there, because it's shocking to find out what people have really done in the real world.Back Stage: You've also played your share of unreliable narrators; any reason you're drawn to those roles? DiCaprio: Yeah. I like that term, "unreliable narrator." Recently, people have been asking me about the type of decisions I've made, and I think something I'm going to continue to do is not question why I'm drawn to certain types of roles or genres of movies. You feel like you have to be of service to something, and I feel like whatever it is about those characterswhether they're unreliable narrators or some sort of dysfunction, or have some sort of similarity to other charactersthere's a reason I want to play them, and I don't want to question that. Like I said, I feel very honored to be able to pick and choose what I do. So I'm just going to continue not questioning it.Outtakes Received Oscar nominations for "What's Eating Gilbert Grape," "The Aviator," and "Blood Diamond" won a Golden Globe Award for "The Aviator"Is shooting "The Great Gatsby" with director Baz Luhrmann, then set to film a role in Quentin Tarantino's "Django Unchained"An active environmentalist, he produced and narrated "The 11th Hour," a documentary about the global environment.His company, Appian Way Productions, has produced such films as "Red Riding Hood," "Orphan," and "The Assassination of Richard Nixon."

Casting Standout: 'A Dangerous Method'

Casting Standout: 'A Dangerous Method' By Simi Horwitz November 16, 2011 Photo by Sony PIctures Classics Toronto-based casting director Deirdre Bowenwho has worked with director David Cronenberg on "Eastern Promises," "A History of Violence," and the upcoming "Cosmopolis"is well-versed in his thoughtful and collaborative approach to casting. So when she, Cronenberg, and producer Jeremy Thomas met to talk about casting "A Dangerous Method," they all came with ideas, according to Bowen. Because the film is based on the lives of historic figuresSigmund Freud and Carl Junga big challenge was finding actors who could at least physically suggest them. Though she had a degree of flexibility, as most people picture them as older men, "we have to believe the actors might grow to look like Jung and Freud as they aged," Bowen explains.The actors also had to suggest keen intelligence. The audience must fully accept that this person is indeed Sigmund Freud, the father of psychoanalysis, and the actor playing Jung needed to embody "an alpha male who is hugely self-confident, wealthy, and fascinated with the world," Bowen says. Of course, equally important, she admits, was finding actors who appealed to the film's distributors.Viggo Mortensen was a unanimous choice for Freud. The actor had worked with Cronenberg on "A History of Violence" and "Eastern Promises," and though Freud was a different kind of role for him, there was little doubt he could pull it off. And "Viggo loves a challenge," Bowen adds. Michael Fassbender was also a consensus choice to play Jung, thanks to the actor's impressive body of work ("Inglourious Basterds," "Jane Eyre") and, most important, she says, his "tour de force performance in 'Hunger,' " in which he played Irish Republican Army activist Bobby Sands.Though Keira Knightley also plays a real-life figure, few outside psychoanalytic circles have heard of Sabina Spielrein, and even fewer know what she looked like, so there was some freedom in casting the role, Bowen says. Nonetheless, the actor had to be beautiful andbecause Spielrein ultimately became a major figure in psychoanalysis in her own rightconvey both a piercing intelligence and "a deeply disturbed woman who is transformed as a result of psychoanalysis," Bowen says. "Keira was at the top of our list."Vincent Cassel was another shoo-in, to play Freudian disciple and anarchist Otto Gross, according to the CD. The French actor had to bring to life a super-smart man with challenging ideas and loads of charm. The character shares some elements with the seductive and abusive director Cassel played in "Black Swan," Bowen says, but equally important, Cronenberg had directed him in "Eastern Promises," was familiar with his range, and had established that special bond and trust that comes from having collaborated.Bowen is especially pleased with having brought in lesser-known Canadian actor Sarah Gadon to play Jung's wife. The CD was asked to find a Canadian actorthe film's funding was based on itand had watched Gadon develop over the years. "I've seen her in smaller films and said to myself, 'The camera likes her,' " Bowen says. "She has a luminous beauty, and she's such a nice contrast to Keira. Sarah's character has the highest intelligence. She understands what's going on but keeps it to herself. She's strong and sweet. David liked her so much, he has cast her in his next film, 'Cosmopolis.' "Many interesting smaller parts presented their own challenges. For one, the actors had to be believable as late-19th- or early-20th-century Germans. (All the smaller roles were cast in Germany, where the film was shot.) Photos of the period were a starting point. Another challenge was finding actors who could speak fluent English, "and we still had to figure out what we could get away with in terms of accents," Bowen says. "We needed actors to play patients who ranged in intelligence and economic class. Some were playing patients who were just troubled. Others were playing the downright crazy. We needed fine character actors who had strong character faces and who would be able to sustain the film and satisfy the needs of the producer and director. I know what David likes: intelligent actors who become his working partner. David is no Svengali." Casting Director: Deirdre BowenDirector: David CronenbergWriter: Christopher Hampton, based on his play "The Talking Cure," based on the book "A Most Dangerous Method" by John KerrStarring: Viggo Mortensen, Michael Fassbender, Keira Knightley, Vincent Cassel, Sarah GadonThe Pitch: In Vienna on the cusp of World War I, the multilayered and beautiful Sabina Spielrein (Knightley) comes between novice psychiatrist Carl Jung (Fassbender) and his mentor Sigmund Freud (Mortensen) while serving as inspiration to both. Casting Standout: 'A Dangerous Method' By Simi Horwitz November 16, 2011 PHOTO CREDIT Sony PIctures Classics Toronto-based casting director Deirdre Bowenwho has worked with director David Cronenberg on "Eastern Promises," "A History of Violence," and the upcoming "Cosmopolis"is well-versed in his thoughtful and collaborative approach to casting. So when she, Cronenberg, and producer Jeremy Thomas met to talk about casting "A Dangerous Method," they all came with ideas, according to Bowen. Because the film is based on the lives of historic figuresSigmund Freud and Carl Junga big challenge was finding actors who could at least physically suggest them. Though she had a degree of flexibility, as most people picture them as older men, "we have to believe the actors might grow to look like Jung and Freud as they aged," Bowen explains.The actors also had to suggest keen intelligence. The audience must fully accept that this person is indeed Sigmund Freud, the father of psychoanalysis, and the actor playing Jung needed to embody "an alpha male who is hugely self-confident, wealthy, and fascinated with the world," Bowen says. Of course, equally important, she admits, was finding actors who appealed to the film's distributors.Viggo Mortensen was a unanimous choice for Freud. The actor had worked with Cronenberg on "A History of Violence" and "Eastern Promises," and though Freud was a different kind of role for him, there was little doubt he could pull it off. And "Viggo loves a challenge," Bowen adds. Michael Fassbender was also a consensus choice to play Jung, thanks to the actor's impressive body of work ("Inglourious Basterds," "Jane Eyre") and, most important, she says, his "tour de force performance in 'Hunger,' " in which he played Irish Republican Army activist Bobby Sands.Though Keira Knightley also plays a real-life figure, few outside psychoanalytic circles have heard of Sabina Spielrein, and even fewer know what she looked like, so there was some freedom in casting the role, Bowen says. Nonetheless, the actor had to be beautiful andbecause Spielrein ultimately became a major figure in psychoanalysis in her own rightconvey both a piercing intelligence and "a deeply disturbed woman who is transformed as a result of psychoanalysis," Bowen says. "Keira was at the top of our list."Vincent Cassel was another shoo-in, to play Freudian disciple and anarchist Otto Gross, according to the CD. The French actor had to bring to life a super-smart man with challenging ideas and loads of charm. The character shares some elements with the seductive and abusive director Cassel played in "Black Swan," Bowen says, but equally important, Cronenberg had directed him in "Eastern Promises," was familiar with his range, and had established that special bond and trust that comes from having collaborated.Bowen is especially pleased with having brought in lesser-known Canadian actor Sarah Gadon to play Jung's wife. The CD was asked to find a Canadian actorthe film's funding was based on itand had watched Gadon develop over the years. "I've seen her in smaller films and said to myself, 'The camera likes her,' " Bowen says. "She has a luminous beauty, and she's such a nice contrast to Keira. Sarah's character has the highest intelligence. She understands what's going on but keeps it to herself. She's strong and sweet. David liked her so much, he has cast her in his next film, 'Cosmopolis.' "Many interesting smaller parts presented their own challenges. For one, the actors had to be believable as late-19th- or early-20th-century Germans. (All the smaller roles were cast in Germany, where the film was shot.) Photos of the period were a starting point. Another challenge was finding actors who could speak fluent English, "and we still had to figure out what we could get away with in terms of accents," Bowen says. "We needed actors to play patients who ranged in intelligence and economic class. Some were playing patients who were just troubled. Others were playing the downright crazy. We needed fine character actors who had strong character faces and who would be able to sustain the film and satisfy the needs of the producer and director. I know what David likes: intelligent actors who become his working partner. David is no Svengali." Casting Director: Deirdre BowenDirector: David CronenbergWriter: Christopher Hampton, based on his play "The Talking Cure," based on the book "A Most Dangerous Method" by John KerrStarring: Viggo Mortensen, Michael Fassbender, Keira Knightley, Vincent Cassel, Sarah GadonThe Pitch: In Vienna on the cusp of World War I, the multilayered and beautiful Sabina Spielrein (Knightley) comes between novice psychiatrist Carl Jung (Fassbender) and his mentor Sigmund Freud (Mortensen) while serving as inspiration to both.

David Gordon Eco-friendly Adapting Q

Time traveller's strifeWhen you think about the letter Q in movies, odds are your mind flits with the idea to James Bond's Major Boothroyd, Star Trek's capricious super-alien or even the Winged Serpent. Or, you realize, no above. However there is a chance it might drift towards a brand new planned film by David Gordon Eco-friendly.The new sony has introduced (inside a statement acquired by Variety) it's nabbed the feature privileges to Evan Mandery's novel Q for that author/director to tackle like a future project.The twisty comic drama finds a guy who getting an unpredicted visit from the future version of themself, who alerts him that getting married to the passion for his existence will be a very bad idea. But though our hero concurs, he later regrets the option and sets to find the lady once more.There is no word on when Eco-friendly can get began around the movie, because he is loaded with lots of possible projects relaxing in his development file. His next film, Jonah Hill comedy The Sitter, is scheduled for The month of january 20.

Kat Von D: Jesse James Scammed on Me with 19 Women

Jesse James and Kat Von D Kat Von D has written a "thanksInch note to ex-fiancé Jesse James - for apparently cheating on her behalf with 19 women.Inside a note entitled "Thanks, Jesse James," the first kind L.A. Ink star creates on Facebook that on Sunday she met the 19th lady with whom James scammed throughout the couple's on-again, off-again relationship.Kat Von D and Jesse James split - again"I stored returning and forth i believe in regards to what the easiest way could be that i can release and forget about any residual feelings remaining from that toxic relationship.All this may seem petty or immature with a, however i guarantee this really is from a host to pure honesty and love," she creates. "There is a period when I had been confident and excited at showing the planet wrong, because I thought so deeply in individuals capability to change for that better. Even though this wasn't a principal purpose within the relationship, Used to do seem like it might be an optimistic factor for individuals who judged Jesse exclusively according to the things they read in tabloids, to determine that change is definitely possible - even just in those who appear hopeless."The happy couple split permanently in September, only a month after getting back carrying out a month-lengthy separation. They'd become together within the summer time of 2010, soon after news of James' cheating brought to his divorce from Sandra Bullock. At that time, Von D stated she wasn't concerned about James' past infidelity."Sure, its [sic] simple to tell someone, 'I said so' particularly if you are demeaning someone in the outdoors, but that attitude develops from a place known as Ego, and never Love," the 29-year-old Von D creates, adding that she's fed up with being mistaken for James' mistress Michelle "Bombshell" McGee. "I understand I deserve a large body fat 'I said so,'from everybody, and desire I did not need to say, 'You all were more right than you'll ever know'but you had been.InchPoor news, great news! TLC cancels L.A. Ink Kat Von D engaged to Jesse James againEven if James, 42, never changes his ways, Von D states she thinks that others can alter for that better, including herself."This really is about me making peace with myself, and forgiving myself to make some bad mistakes," she states. "Time is one thing you cant ever return, and what we should use this very present moment is easily the most real factor we now have. "Therefore if this is the lesson Jesse forced me to manage and improve by all this, than all I'm able to have to say is Thanks.Inch

Harry Potter's Warwick Davis on Wand Choreography, George Lucas and What He Won't Miss About Potter

Even though you may not immediately recognize the name Warwick Davis, you are familiar with his work. That’s because the English actor has been involved with two of the most storied franchises in all of film history — the first being Star Wars, where Davis made his onscreen debut as Wicket in Return of the Jedi at the tender age of 13. Nearly three decades (and title roles in Willow and the six-part Leprechaun series) later, Davis helps close the door on the Harry Potter franchise, where he has played Hogwarts charms master Professor Flitwick and Gringotts goblin Griphook for 10 years. In celebration of the Deathly Hallows — Part 2 home release this past weekend, Movieline sat down with Davis at Universal’s Wizarding World of Harry Potter in Orlando to discuss his fear of roller coasters, his favorite scene with Daniel Radclife and the one thing he will not miss about recreating J.K. Rowling’s magical world for the movies. Have you been on all of the Harry Potter rides yet? The thing is, I don’t like roller coasters, but I had no excuse. We were here for the [park] opening last year, and some first-grade students had won the opportunity to come here and ride the Flight of the Hippogriff with the Harry Potter cast. As soon as I heard that, I said, “That’s great, but it’s such a shame. I’m too short for [the ride].” That’s my excuse for these rides — I just say I’m too short. They said, “No, look!” They stood me next to the height chart and I was indeed taller and they said, “You can ride.” I went on with a first grader and I was screaming like a little girl and she was just enjoying it, looking at me like, “Why is he so afraid?” The Wizarding World for me is just a nice place to walk around without going on all of the rides. It’s just a really intriguing, fun place to immerse yourself in the world of Harry Potter. How did you feel after leaving the Harry Potter world for good once production on Deathly Hallows wrapped? I was sad it was all over. It’s an odd thing that we aren’t going back there again to do any more movies, because you kind of took it for granted each year. Now that it’s all over, it is a bit odd. At the same time, you have a sense of achievement and accomplishment that you’ve been part of these eight movies and you can be proud of the fact that these were the very best movies you could make. That’s a nice feeling. What’s lovely is that in London, Warner Bros. Studios is going to open the doors so that people can see all of the sets and all of the things we were privileged to work in the last 10 years. The legacy continues. Unlike the other actors in this series, you got to be play several different characters. Was that fun as an actor or more of a hassle because of the makeup involved? Great fun! I owe a great deal to the makeup department because they transformed me. I am obviously too good-looking for these films, so they had to cover me in rubber and glue. But it allowed me to play all of these different characters. In the last film, I played Professor Flitwick and Griphook, two very different characters. It’s always a compliment when someone says, “I didn’t know you played Griphook as well.” That’s great for me because I wasn’t spotted. It’s incredibly gratifying though and it was really a team effort from a lot of different people from the people in the design to the people who mold the prosthetics to the people who paint them. There are a lot of different people who come together. I’m just the foundation for that, but I feel incredibly privileged that I was able to go in front of the camera and show it all off. What won’t you miss about Harry Potter? Sitting in the makeup chair at about 4 a.m. on a cold December morning in the U.K. and having someone apply glue to your face. Glue, because it has solvent in it, is about the temperature — I can’t describe it but it’s just very, very cold, especially at that time in the morning. The smell too — it’s actually making me feel quite ill just talking about it. I won’t miss any of that. I’ll miss the people, but not the glue and the silicone rubber. When I spoke to David Yates, he mentioned that there were some moments on set during Deathly Hallows that were so moving that everyone on set, including the crew, stopped what they were doing and became emotional. Do you recall any moments like that on set? Well, I loved playing the scene with Daniel at the beginning of Deathly Hallows — Part 2 in Shell Cottage. That was a lovely scene to play because it was just 1:1 — no explosions, no wands, just two people trying to psych each other out. David described it as a game of poker. The moment when Voldemort pronounces Harry dead — that was an amazing scene for everyone on set. The courtyard was full. It was as you see it in the film, which is what was amazing about filming Harry Potter. There is not a lot of green screen. They build the sets complete. There are all of the Death Eaters and everything you see onscreen — it exists for us as actors. So seeing Voldemort walk out in front of that army and pronounce Harry dead, it sends a shiver when you are standing there. That was a moment that I read in the book and then remember thinking [on set], “Wow, I’m here. This is happening.” It’s really cool.

George Tilman Directs Miles Davis Biopic

Jazz legend to obtain Ray treatmentDon Cheadle continues to be creating a biopic of jazz legend Miles Davis for a while, but director George Tilman Junior could have the hop on him: he's now attached to another Davis project, using the participation of Davis' own boy Gregory.Miles Davis would be a trumpeter and band leader, along with a central estimate jazz music for many years. In addition to being a vital figure from the age themself, he labored with everybody else you've ever encountered, including best like Dizzy Gillespie, Charlie Parker, Art Blakey and John Coltrane, and was right in the center of practically every scene - bebop, awesome, fusion - that emerged between your nineteen forties and seventies. He won Grammy honours within the sixties, 70s and 80s, and something for Lifetime Achievement in 1990. He died, aged 65, in 1991.The brand new film, tentatively entitled Miles, is dependant on Dark Magus: The Jekyll And Hyde Existence Of Miles Davis,Gregory's own biography of his father. That title refers back to the "prince of darkness" sobriquet that Miles gained because of his whispering voice, nocturnal lifestyle, along with a difficult period within the 50s when, like a lot of his contemporaries, he was hooked on heroin. He'd a highly-publicised "disagreement" with Theolonius Monk, and something famous story saw a drug-addled, rain-drenched Davis, together with his trumpet inside a paper bag, entering a gig by Max Roach and Clifford Brown, playing an impromptu solo after which vanishing once more in to the evening. Davis always refused the storyline, however it seems like great cinema.George Tilman Junior lately made the not-very-fast Rock vehicle Faster, however the best job on his CV is really a rather different kinc of musical biopic, Well known, in line with the existence of rapper Biggie Smalls. Producer Nick Raynes states that, "Our intention is to create a feature film which will appeal past the worldwide audience of Miles Davis' die-hard fans, also to include individuals that do not be aware of first factor concerning the guy, and introduce new ears to his music. In exactly the same thatWalk The LineandRaywere in a position to open the earth's eyes towards the existence tales of Johnny Cash and Ray Charles, you want to create a film that is going to do exactly the same for Miles Davis, whose fifty-year career like a music performer goes beyond some time and race."Gregory Davis meanwhile, states, "I trust George Tillman will inform the real story of my dad, with no sugar-coating. My dad was an incredible guy who supported the commitment of America. I understand this film is going to do him justice."

'The Adventures of Tintin': Never-Before-Seen Footage Promises Plenty of Action (Video)

Weta Digital Ltd. Vital Pictures on Thursday released a completely new "sneak look" at its approaching movie The Adventures of Tintin: The Important Thing in the Unicorn, from director Steven Spielberg and producer Jackson.our editor recommendsSteven Spielberg, Peter Jackson's 'Adventures of Tintin' to seal Out AFI Fest (Exclusive)Foreign Box Office: Spielberg's 'Adventures Of Tintin' Opens Solid No. 1 Overseas'The Adventures of Tintin': What James Cameron Shown Spielberg and Jackson9 Considerations To Learn About 'The Adventures of Tintin' The studio states the clip, released right after the film closed the AFI Fest in La, features "never-before-seen footage" in the movie, which uses motion capture and CGI animation. PHOTOS: 'The Adventures of Tintin' U.K. Premiere Blue Carpet Arrivals Tintin was modified within the legendary -- no less than outdoors the U.S. -- comic series by Belgian artist Herge. The child-friendly film starts when Tintin (voiced by Jamie Bell) discovers one ship getting a secret leading him, with Captain Haddock (Andy Serkis) at his side as well as the villainous Sakharine (Difficulties) in pursuit, around the round-the-world mission to discover a shipwreck referred to as Unicorn. The 30-second clip promises plenty of action, with Tintin beginning on his mission via pretty bumpy rides by boat, motorcycle and plane. PHOTO: Steven Spielberg's 'The Adventures of Tintin: Secret in the Unicorn' Spielberg and Jackson recently spoken for the Hollywood Reporter for just about any cover story concerning the building from the film, which used condition-of-the-art 3d motion capture techniques. Spielberg mentioned he first optioned the rights in 1983 but wasn't satisfied the very first script might be "palatable for your rabid global fans."In 2004, he asked for Jackson's Weta Digital effects house to create Tintin's dog Snowy, leading to the amazing collaboration involving the two. THR COVER STORY: Steven Spielberg and Jackson: The Leaders Behind 'The Adventures of Tintin' The film, the very first in the recommended trilogy, will probably be released within the united states . States on 12 ,. 21. It's already opened up up overseas. Andy Serkis Steven Spielberg Difficulties Jackson The Adventures of Tintin Jamie Bell

Nicki Minaj, David Guetta to start American Music Honours

Nicki Minaj and French house DJ David Guetta will open the 2010 American Music Honours later this month. The Two labored with on "Where Them Women At?" off his latest album, Just the Beat.our editor recommends2011 American Music Honours: Adele Leads With 4 Nominations (Video)Chris Brown, Marc Anthony, LMFAO Put in American Music Honours Selection Individuals would be the latest addendums to the show, which has formerly reserved Christina Aguilera, LMFAO and Chris Brown as artists. The AMAs will probably be broadcast reside in the Nokia Theatre on Sunday, November. 20 at 8 p.m. ET/PT on ABC. This year, the network may even air an energetic pre-show at 7 p.m. VIDEO: 2011 American Music Honours: Adele Leads With 4 Nominations Fans can election for favorite nominees online within the Coca-Cola AMA voting website, amavoting.com, additionally to AMA.abc.com. Adele acquired most likely probably the most AMA nominations this year, with four, after they were introduced March. 11. The American Music Honours can be a host-free event that highlights music's finest artists. Related Subjects American Music Honours David Guetta Nicki Minaj

David Schwimmer In Talks For Your Iceman

He'll be described as a mob hitmanDavid Schwimmer is not usually recognized for playing truly dark figures, but he's taking a real crack advertising online now, engaging in discussions to get a killer inside the Iceman.Michael Shannon is arranged to star as Richard Kuklinski, an authentic-existence killer who completed contract hits throughout the evening while keeping the pretense he will be a loving family guy. He am good at hiding his other existence that even his doting wife (who Maggie Gyllenhaal may have) didn't have clue what he really awoke to.Schwimmer is searching to see Josh Rosenthal, another assassin employed by mob boss Roy Demeo (Ray Liotta). Rosenthal apparently investigated to Demeo just like a father figure, and visited incredible measures to win his respect.Ryan O'Nan may also be aboard, playing a young hustler who becomes enmeshed in Kuklinski's deceptiveness. Ariel Vromen is positioned to direct the film, employed in the script he modified with Morgan Land from Anthony Bruno's book The Iceman: The Actual Story From The Cold-Blooded Killer. He's striving to begin shooting in December.Schwimmer's latest film was one he directed, the Clive Owen/Catherine Keener thriller Trust. He'll next be seen (quite simply, heard) in Madagascar 3 next season.

FEINBERG FORECAST: 'Coriolanus,' 'J. Edgar,' 'Hugo,' 'Into the Abyss,' 'Lady' Move Publish-AFI

Vital BEST PICTURE Management The Artist (The Weinstein Company, 11/23, TBA, trailer) The Descendants (Fox Searchlight, 11/23, R, trailer) War Equine (Disney, 12/25, PG-13, trailer) Very Noisy and very Close (Warner Brothers and sisters, 12/25, TBA, trailer) The Help (Disney, 8/12, PG-13, trailer) Moneyball (Columbia, 9/23, TBA, trailer) Evening amount of time in Paris (The brand new the new sony Pictures Classics, 5/20, PG-13, trailer) J. 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Edgar) Jodie Promote (Carnage) Kate Winslet (Carnage) Scarlett Johansson (We Bought a Zoo) BEST Modified Script Management Alexander Payne, Nat Faxon, Jim Rash (The Descendants) Richard Curtis, Lee Hall (War Equine) Eric Roth (Very Noisy and very Close) Tate Taylor (The Help) Stan Chervin, Aaron Sorkin, Steven Zaillian (Moneyball) Major Risks Steven Zaillian (The Woman while using Dragon Tattoo) George Clooney, Grant Heslov (The Ides of March) Bridget O'Connor, Peter Straughan (Mess, Tailor, Soldier, Spy) Roman Polanski (Carnage) Hossein Amini (Drive) Options Pedro Almodovar (The Skin Home Is) Christopher Hampton (A Dangerous Method) Cameron Crowe, Aline Brosh McKenna (We Bought a Zoo) James Ellroy, Oren Moverman (Rampart) John Logan (Coriolanus) BEST ORIGINAL Script Management Michel Hazanavicius (The Artist) Woodsy Allen (Evening amount of time in Paris) Dustin Lance Black (J. Edgar) Abi Morgan, Steve McQueen (Shame) Sean Durkin (Martha Marcy Mae Marlene) Major Risks Terrence Malick (The Tree of Existence) Will Reiser (50/50) Abi Morgan (The Iron Lady) Diablo Cody (Youthful Adult) Tom McCarthy, Joe Tiboni (Mutually Advantageous) Mike Mills (Beginners) James Ward Byrkit, John Logan, Gore Verbinski (Rango) Options Annie Mumolo, Kristen Wiig (Bridesmaids) Asghar Farhadi (A Separation) Drake Doremus, Ben You'll be able to Manley (Constantly) Rob Nichols (Take Shelter) Rebecca Frayn (The Lady) Adrian Hodges (My Week with Marilyn) J.J. Abrams (Super 8) Dee Rees (Pariah) BEST ANIMATED FILM (FEATURE) Management The Adventures of Tintin (Vital, 12/21, TBA, trailer) Rango (Vital, 3/4, PG, trailer) Happy Foot 2 (Warner Brothers and sisters, 11/18, TBA, TBA, trailer) Cars 2 (Disney, 6/24, TBA, trailer) Arthur Christmas (The brand new the new sony, 11/23, TBA, trailer) Major Risks Puss in Boots (DreamWorks, 11/4, TBA, trailer) Rio (last century Fox, 4/15, G, trailer) Alvin as well as the Chipmunks: Nick-Wrecked (last century Fox, 12/11, TBA, TBA) Winnie the Pooh (Disney, 7/15, G, trailer) Options Kung Fu Panda 2 (DreamWorks, 5/26, PG, trailer) The Smurfs (The brand new the new sony, 7/29, TBA, trailer) The Lion of Judah (Animated Family Films, 6/3, TBA, trailer) BEST DOCUMENTARY FILM (FEATURE) Management The Interrupters (The Cinema Guild, 7/29, TBA, trailer) Project Nim (Kerbside Sights, 7/8, PG-13, trailer) Senna (Producers Distribution Agency, 8/12, PG-13, trailer) Buck (IFC Films, 6/17, PG, trailer) To the Abyss (Sundance Selects, 11/11, TBA, TBA) Major Risks In case your Tree Falls (Oscilloscope, 6/22, TBA, trailer) Being Elmo: A Puppeteer's Journey (Submarine Luxurious, TBA, trailer) Better Our World (Bullfrog Films, 8/26, TBA, trailer) Quran off off by heart (Cinemax Documentary Films, TBA, TBA, trailer) Bill Cunningham NY (Zeitgeist Films, 3/16, TBA, trailer) Hell and Again (Docurama Films, 10/5, TBA, trailer) The Region Leader (Samuel Goldwyn Films, 11/8, TBA, trailer) NEW Page One: Inside the NY Occasions (Magnolia, 6/24, TBA, trailer) Tabloid (Sundance Selects, 7/15, R, trailer) I Had Been Here (Danger Signal Delivering, 9/?, TBA, trailer) Corman's World: Exploits from the Hollywood Digital digital rebel (Anchor Bay Films, 10/16, TBA, trailer) Options Miracle Trip (Magnolia, 8/5, TBA, trailer) The Rescuers (Menemsha Films, TBA, TBA, trailer) The Black Energy Mixtape 1967-1975 (Sundance Selects, 9/9, TBA, trailer) Hot Coffee (Cinemax Documentaries, 6/27, TBA, trailer) Jewel Jam Twenty (Abramorama, 9/20, R, trailer) Bobby Fischer In the World (Cinemax Documentary Films, TBA, TBA, TBA) The Whale (Paladin, TBA, TBA, TBA) The Bully Project (The Weinstein Company, TBA, TBA, trailer) Revenge in the Electric Vehicle (Westmidwest Productions, TBA, TBA, trailer) The Best Movie Ever Offered (The brand new the new sony Pictures Classics, 4/22, PG-13, trailer) Still Seeking Domestic Distribution Bombay Beach The Organization Footnote Semper Fi: Always Faithful (trailer) BEST Language FILM Management A Separation (Iran) Which Side We Proceed Now? (Lebanon) Le Havre (Finland) A Simple Existence (Hong Kong) In Darkness (Belgium) Major Risks Monsieur Lazhar (Canada) Commitment of War (France) Footnote (Israel) Happy, Happy (Norwegian) Pina (Germany) Terra Firma (Italia) Sonny Boy (Netherlands) Superclasico (Denmark) Options The Flowers of War (China) Black Bread (The nation) Postcard (Japan) Omar Destroyed Me (Another agents) The Turin Equine (Hungary) Not such a long time ago in Anatolia (Chicken) Montevideo: Taste from the Dream (Serbia) Morgen (Romania) The Invention of Hugo Cabret Coriolanus The Iron Lady J. Edgar AFI Fest

NBC Buys Hannibal Series From Bryan Bigger & Gaumont Worldwide Television

EXCLUSIVE: Within the first U.S. purchase, recently launched L.A.-based indie studio Gaumont Worldwide Television provides hourlong drama Hannibal at NBC. Written and executive produced by Bryan Bigger and executive produced by Martha P Laurentiis, the project, good legendary literary and film character Hannibal Lecter, was bought by NBC preemptively. It marks a reunion involving the network and GIT Boss Katie O’Connell, who formerly offered as NBC mind of drama. Bigger is developing a script against a 13-episode commitment, and then the project won’t undergo an plane pilot stage but to series if NBC brass like the script. The network features a short window after receiving Bigger’s script to have it. In the model similar to that for NBC’s midseason drama series The Firm, GIT, the U.S. arm of French film studio Gaumont, will fund the chance series by a combination of a U.S network license fee and worldwide sales. The project was arrived at MIPCOM lately, and various worldwide deals are actually inside the works. I hear that Bigger, a very-known foodie as evidenced by his previous series Pushing Daisies, loved the dark, sick side of Hannibal, that has a inclination to feast on his sufferers. (Who is able to neglect the line: “I ate his liver having a couple of fava beans together with a pleasant chianti”?) P Laurentiis — which has produced the Hannibal Lecter features Hannibal, Red-colored-colored Dragon and Hannibal Rising — and CAA introduced the rights to GIT, which opened up up its entrance doors in the start of September. O’Connell introduced in Bigger, with whom she'd stood a extended relationship coming back for the time she was at NBC and WME-repped Bigger done the network’s drama Heroes. (O’Connell also purchase Bigger’s Pushing Daisies, which ultimately visited ABC.)

Critic's Help guide to Thursday TV: Return of Bones and Burn Notice and much more!

Emily Deschanel, David Boreanaz "Kind of as an eclipse - it does not happen that frequently." That's Angela's wry undertake the amazing sight of "Bones" Brennan (Emily Deschanel) crying copiously in a grisly crime scene, as Fox's Bones (9/8c) finally starts its seventh season, re-creating itself among TV's more fun procedurals. These bankruptcies are not sympathy tears, obviously, or sobs of horror - perhaps you have met Bones? - basically a ton of the body's hormones, as she's now well along in her own pregnancy. But she's still only making tentative steps toward commitment with baby-dad Booth (David Boreanaz), who will get pretty testy themself if this involves particulars like where exactly they are going to setup a nursery for his or her bundle of pleasure: his place, her place, or possibly an "our" place?As always, these emotional concerns upstage the crime-of-the-week, that involves a decaying corpse present in a paintball combat zone. Upon examination - including an icky moment when beetles erupt in the brain, grossing everybody out but buggy Dr. Hodgins ("Arrived at papa, my little buddies") - the victim was discovered to possess experienced from retrograde amnesia, and discovering what she did throughout her fugue condition might help solve the murder. It is good to possess this show back on Thursdays.Same applies to USA Network's breezy spy caper Burn Notice (10/9c), that is to wrap its fifth season with six new episodes. The experience accumulates with Michael discontentedly underneath the blackmailing thumb from the wretched Anson (Jere Burns), who we learned within the summer time cliffhanger may be the last remaining person in the business that burned Michael. With this hero (Jeffrey Donovan) in line for any security upgrade in the CIA, the timing could not be worse for him to become performed like a pawn. As Michael notes: "For any spy, the worst factor that may happen would be to become another person's resource." This week's mission, on Anson's orders, transmits Michael and Fiona (Gabrielle Anwar) to Puerto Rico to steal - or, as Fiona puts it, "Think about it as being discussing at gunpoint" - some type of computer-virus software package. Complications naturally ensue once we watch for Michael to learn how to obtain the upper hands on his latest foe. When Anson brags, "There is no moves left around the chessboard," we are left wondering how lengthy it will require before Michael can announce "checkmate."Want more fall TV news? Sign up for TV Guide Magazine now!On the more somber than normal outing of CBS' hit The Mentalist (10/9c), directed by Simon Baker, the trail of the serial killer leads Patrick Jane to some blogger (the superb David Paymer) who's as obsessed with this situation as Jane has lengthy been with Red-colored John. "This [San Joaquin Killer] is really a guy to become feared, not pitied," the blogger demands to Jane, whose sights on who-dun-it differ considerably, and also the trap he prepares to prove his theory has unintentional effects.The comedy corner: The women have really enter into their very own as scene-stealers on CBS' The Large Bang Theory (8/7c), which week they seem to be transporting the "A"-story, as Amy (the amusing Mayim Bialik) feels omitted when Bernadette takes Cent searching for wedding gowns without her. Do they really all be "besties" following this snub? ... On NBC's cult comedies, John Goodman returns to Community (8/7c) because the calculating Vice Dean of Ac Repair, that has his sights set on youthful Troy. We meet Pierce's father, which qualifies like a "who understood?" ... Pawnee is considering the Finish of Days on Parks and Entertainment (8:30/7:30c), as the "Doomsday" device around the Office (9/8c) is Dwight's creation, an effort to boost efficiency that may finish up getting everybody fired if almost all their mistakes are uncovered.The very best factor to occur to CW's The Vampire Journals (8/7c) this year continues to be adding Rebekah (Claire Holt), that naughty vixen of the Original vamp, pouty sis towards the effective Klaus. She's really been making herself in your own home since coming in Mystic Falls, and tonight she and Elena change things up with what the network describes like a "mean-girl energy struggle." I'm so there.Remember when: ABC's Grey's Anatomy (9/8c) continues to have its moments, but it will likely be difficult to not pine for that show's glory days when dear departed George O'Malley's mother (the truly amazing Debra Monk) visits Dallas Sophistication, this time around to correct a surgery she got in a lesser hospital. We still miss George.Stranger than fiction: HBO's documentary unit presents Marathon Boy (8/7c), a genuine-existence Slumdog Uniform (having a less happy ending), shot on the five-year period within the youthful existence of Budhia Singh, who grew to become a national sensation in India once the mentor who required him from the roads nurtured him right into a lengthy-distance runner at age 3 and 4. Below is really a cautionary tale of fame, exploitation and legal misery. ... The most recent from OWN's Documentary Club is Crime After Crime (9/8c), concerning the legal fight to reopen the situation of Deborah Peagler, a victim of domestic abuse serving a 25-year prison sentence on her link with her boyfriend's murder. ... More real-existence women-behind-bars drama, as TLC's docu-series Cellblock 6: Female Secure (10/9c) starts another season, revealing the harrowing conditions in Cincinnati's Hamilton County Justice Center.And lastly, the very first from the Top 12 functions will get removed on Fox's The X Factor (8/7c). Pray it's among the groups. And should not we simply give Melanie her record deal already?Sign up for TV Guide Magazine now!

News Corp. steady on cable, film biz

FX, driven by 'Justified' and reruns of 'Two and a Half Men,' boosted News Corp.'s domestic nets by 14%.'Rise of the Planet of the Apes' helped film biz profit rise 24% to $347 million.News Corp. said its quarterly profit dipped to $738 million from $775 million, partly on a $91 million restructuring charge at its UK newspaper business and a one-time hit from withdrawing its BSkyB bid, both were the fallout from a phone hacking scandal that erupted this summer.The businesses were strong, however. Operating income rose 21% to $1.4 billion and revenue grew 7% to $7.9 billion for the fiscal first quarter ended Sept 30.Core TV and film businesses all performed well, with operating income higher in cable, broadcast, satellite and filmed entertainment. Only publishing was down.Income at cable nets rose 18% to $775 million.Ad revenue at the domestic nets grew 14% driven by pricing and ratings growth at FX. International channels grew revenue 24% led by STAR India and Fox Latin America.Affliate revenue rose 9% at the domestic channels and 24% internationally.Filmed entertainment saw operating profit up 24% to $347 million, driven by the worldwide theatrical perf of "Rise of the Planet of the Apes," and "Rio" and "X-Men: First Class" on home video.Television revenue rose 27% to $133 million. Company cited robustnational advertising market and the broadcast of the 2011 Emmy Awards, as well as a greater than two-fold increase in retransmission consent revenues. These increases were partially offsetby lower political advertising revenue at the local television stations and increased marketing costs at the broadcast network, in support of the launch of new series "Terra Nova," "New Girl" and "The X Factor."Publishing saw operating income drop 38% to $110 million, reflecting in part the impact from closing The News of The World in the UK and lower revenue from the Austrialian newspapers. That was partly offset by higher advertising and circulation revenue at The Wall Street Journal.Italian satcaster Sky Italia saw income rise 45% to $119 million. Contact the Variety newsroom at news@variety.com