OSCAR: Toons Tuning Up For Big Animation Race But Will Spielberg Make The Cut?

With today’s announcement that GKIDS (under the banner of Luma Films) will release Oscar-winning filmmaker Fernando Trueba’s (Belle Epoque from 1992) animated musicalChico and Rita for a qualifying run before the end of the year, the animated feature race just heated up. By my count the list of potential films is now 15, one short of triggering five nominees in the category and definitely enough to make way for 4 nominees (8-12 means 2-3 noms, 13-15 means a max of 4, and 16 means a full house of 5). Final entry forms need to be into the Academy by November 1, and then will be vetted by the Acad’s Short Films and Feature Animation branch to see if they fully qualify. If last year is any indication, the Academy will then put out a list of eligible animated features by the middle of November. Of course there is always controversy about what istrue animation, particularly with the Motion Capture process which incorporates real performances by actors and then essentially animates the scenes. This year there are three potential nominees that use the Mo Cap process including Robert Zemeckis’ box office bomb, Mars Needs Moms; George Miller’s sequel to his Oscar winning Happy Feet; and most notably Steven Spielberg’s long awaited entry into the animation world, The Adventures of Tintin (which he also produced with Peter Jackson and Kathleen Kennedy). There are many animators who have questioned the purity of the Mo Cap process as it relates to their art form and although such Mo Cap films as Zemeckis’ The Polar Express, Beowulf and A Christmas Carol have been qualified in past years, none werenominated. In fact no film using Mo Cap either fully or partially has made the final list since 2006 when both Monster House and Happy Feet were contenders, with the latter actually winning. Reportedly keymembersin the Acad’s animationbranch met Tuesday night for a meeting that lasted four hours. Among topics said to come up was the issue of Motion Capture (aka Performance Capture) andan insider with knowledge of the situationtold Deadline that they “apparently” havedecided to send a letter to the filmmakers of Mars Needs Moms, Happy Feet 2 and Tintin asking them what their ‘intent’ was in using the Mo Cap process before deciding whether those films actually qualify. In their formal rules the Academy states that “Motion Capture by itself is not an animation technique” and that the films must be done in frame by frame animation. Based onthe Academy’s past actions it is likely that all three would qualify and itwould seem unlikely that the Academywould take on Oscar winners Zemeckis, Miller and Spielberg on this issue especiallysince their previousstated intentions have been that they are workingfully in the animated format. Even outside of the Mo Cap area filmmakers known primarily for their live action films like those three have been dabbling inother forms of featureanimation including Trueba and Rango’s Gore Verbinski this year. If some animators have their doubts those behind ‘Tintin’ certainly do not. Paramount sources who have seen Spielberg’s film swear it qualifies in every way, that despite use of Mo Cap they tellmeit is strictly frame by frame in terms of its animation. One person working on the film said “ten years ago animators were complaining that the CGI process was not pure animation. I think when they see how this form has developed, particularly with ‘Tintin’ they will start to accept it more readily”. Ken Kamins who works closely with Jackson and is an Executive Producer on the film agrees, emailed Deadline: “Steven has always believed that Tintin is an animated film. The Academy doesn’t for example, make a distinction between hand drawn vs digital animation. ‘Tintins’ approach, using a mix of performance capture and digital animation is simply another angle of the art form. Our current animated films use voice actors whose performances are directed. ‘Tintin’ is using actors who are providing performance through voice, motion and an ability to interact with one another, but what you’re looking at in its design and conception is nonetheless , animated, “ he says adding recent comments from Joe Letteri, one of WETA’s owners that “It all depends on how you define animation, but to me the tools and techniques (of visual effects and animation) are all the same. Performance (Motion) Capture is not a mechanical process; it’s still an artistic process.” Another Paramount source told me the film is rendered in a way that “completely animated” and that “once everyone sees the movie these issues will go away”. People will begin seeing the film very soon as a matter of fact because, in a very unusual move for a Spielberg film, The Adventures of Tintin is being rolled out internationally first beginning October 26 in Europe and throughout November before finally hitting the US and Canada on December 21st. Columbia Pictures has the film overseas while Paramount is domestic distrib. Nickolodeon Films and Spielberg’s Amblin’ Entertainment are also listed in the film’s credits but not Dreamworks so Spielberg will find himself in the potentially awkward position of competing for Oscar attention against his Dreamworks co-founder and ‘toon magnetJeffrey Katzenberg who has DWA’s Kung Fu Panda 2 and the Shrek spinoff Puss In Boots in contention. In fact Paramount is overloaded with ‘toon titles this season as they also have a frontrunner in Verbinski’s Rango which is a true homebred Par product.With Par’s agreement with Dreamworks Animation seemingly coming to an end the studio is going to be making adirect foray into animation itself rather than relying on its distribution agreements with others. So assuming they get entered andeverything eventually meets the Academy’s qualifications for consideration, the 15 surefire candidates as of now (with a month to go) are Rango, Kung Fu Panda 2, Puss In Boots, Adventures of Tintin (all be handled by Par’s awards crew); Rio and Alvin and the Chipmunks: Chipwrecked (both thru Fox); Weinstein’s Hoodwinked Too; Disney’s Mars Needs Moms and Winnie The Pooh; Disney/Pixar’s Cars 2; Sony’s The Smurfs and Arthur Christmas (from the highly regarded Aardman Animation and for which the studio is doing special 30 minute sneak peeks in LA, NY and London on Monday); Warner Bros. Happy Feet 2; and GKIDS’ Chico and Rita. In addition to those titles there are oddities like a couple of Pokemon films announced for specialweekend theatricalruns in Decemberand Lion Of Judah which may, but likely will not factor into the mix. There are a number of international titles which could possibly come into play but at this point are not on the horizon before the November 1 deadline. For the past two years Disney has also qualified one of their Tinker Bell straight -to-DVD feature titles in order to swell the number of entries and trigger a category of five nominees (thereby increasing the chances of a nom for their realistic contenders). This year I have learned they willNOT bequalifying the nextTink flick, Tinker Bell and the Mysterious Winter Woods, even though it couldhave been a significant factor in getting the list of eligible ‘toons to the magic 16. With the race seemingly morewide open this year (Pixar has rolled over the competition the last four years straight), and Cars 2 not the kind of slam dunk potential nominee/winner Disney/Pixar has had in the past, every strategic move could count in a race that promises to be a real nail-biter.

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Mipcom drama buyers choose carefully

'Hit and Miss' with Chloe Sevigny is an intriguing option. 'Slide' enters the market from Australia's Playmaker. After nabbing only one new U.S. series at this year's L.A. Screenings, the BBC acquired Aussie drama 'The Slap.''Romanzo criminale,' an Italian-language mob melodrama, was pegged for purchase by Blighty's BSkyB.As international TV producers ramp up their efforts in the scripted market, competing with the U.S. broadcast and cable networks, acquisition execs will be able to gorge themselves on drama skeins and TV movies at Mipcom. But is there an appetite for this glut of drama?While it may be true that there are a lot of drama shows on the market, there aren't that many that are getting good ratings abroad," says Bertrand Villegas of TV consultancy the Wit.Of the past season's newbies, only a few series, including "Hawaii Five-0" and "The Walking Dead," have struck a chord with viewers worldwide, Villegas says.Budget cuts and the popularity of local productions have led many free-to-air broadcasters to scale back on foreign acquisitions. The BBC, for example, made only one purchase at the L.A. Screenings, "Pan Am," although it recently bought Australian series "The Slap."So what will buyers be eyeing when they get to Mipcom?The one thing that we are always looking out for is just very good, distinctive pieces," BBC head of acquisitions Sue Deeks says. "The sorts of shows that the BBC wouldn't necessarily make itself. Something that takes an existing genre and subverts it or just has a different take on it."As well as their main terrestrial channels, most broadcasters also have a bouquet of digital channels catering for a niche audience. This has opened up the market for specialty drama.The BBC, for example, now has a slot for foreign-language drama series on its upscale web BBC4, for which Deeks recently bought Danish political thriller "Borgen" (Government).The pubcaster has to compete for the U.K. rights to shows with satcaster BSkyB, which, like other pay TV operators, wants to acquire series with a strong pedigree to boost its brand and draw in new subscribers. This has given the company a voracious hunger for top-dollar drama.Ultimately, we are a pay TV business, and we want to give our customers programming that we firmly believe is worth paying for," says BSkyB controller of entertainment acquisitions Sarah Wright. "So that is always in my head: Is it going to be talked-about TV? Is it of the right quality for our customers?"But are producers supplying the type of shows that these channels need?Wright was impressed by the skeins on offer at L.A. Screenings, where BSkyB picked up sci-fi series "Terra Nova."America seems to have an appetite for risk-taking in the schedules at the moment," she says. "The autumn's really interesting. So I think we are in a good place. It feels like there's a spirit of renaissance."BSkyB doesn't rely solely on U.S. fare. Recent purchases include Australian drama "Cloudstreet" and Italian-language Mafia skein "Romanzo criminale."The competish to fill slots for acquired drama is growing ever more intense with several international players upping the ante.London-based FremantleMedia, already a leading producer of soaps in several countries, is ramping up its distribution of returning English-language drama series through a number of first-look deals between its commercial division, FremantleMedia Enterprises, and leading U.S. and international producers.In the U.S., this has included development pacts with Mike Tollin, who co-created "One Tree Hill" and "Smallville," and Bob Cooper, the former HBO Pictures prexy and Artisan Pictures CEO.At Mipcom, FME will also unveil first-look deals with three other leading U.S. producers, yet to be named.FME sold 17 scripts to 13 cable channels in the last development season in the U.S., and from that came Tollin-produced comedy pilot "The Wedding Band," which has been ordered to series by TBS. The skein will be one of the cabler's tentpole series next summer and will be launched at Mipcom.FME CEO David Ellender says that there has been a change in the attitude of U.S. showrunners, who are now open to what's happening internationally "because we want to make something that is going to be successful in the U.S., but we also want to make a property that will travel."FME has inked a number of development deals with drama producers in the U.K. and Australia. This includes a pact with the U.K.'s Paul Abbott, the creator of "Shameless," whose new series for BSkyB, "Hit and Miss," has just been sold to a U.S. buyer. The skein stars Chloe Sevigny as a pre-op transsexual hitman.FME has also inked a first-look deal with Australia's Playmaker, whose transmedia drama project "Slide" will launch at Mipcom.Another leading player, L.A.-based MarVista Entertainment, recently announced an injection of extra coin, which will allow it to double output from its present 15-20 TV movies a year.The company mainly produces shows that are targeted at a particular demographic, and demand for such product is rising.We are seeing a vast growth in the output of drama series and TV movies being produced out of the U.S., and that is primarily because everyone is fighting for room in the cable landscape and trying to differentiate themselves," MarVista CEO Fernando Szew says.Szew sees shows produced for tweens and teens as a growth area. MarVista's TV pics made for this market include "Radio Rebel," and Debby Ryan starrer "16 Wishes," both commissioned by the Disney Channel.Christina Jennings, chairman and CEO of Canada's Shaftesbury Films, says she is optimistic about the state of the TV drama market, with many broadcasters reporting a hike in ad revenues and new channels launching around the world.We are all very fortunate that the market right now feels incredibly robust," she says. "There are a lot of buyers, so we are all coming into a really healthy, competitive Mipcom."RELATED LINKS: Frenzy yields to caution in tight-fisted era Contact Leo Barraclough at leo.barraclough@variety.com

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Lifetime Renews Drop Dead Diva for Fourth Season

Drop Dead Diva Lifetime has renewed Drop Dead Diva for a fourth season, the network announced Thursday. The 13 new episodes will premiere sometime next year. "I am so excited about the pickup," creator and executive producer Josh Berman tells TVGuide.com."Our cliff-hanger in this Sunday's finale was three years in the making and I look forward to continuing the saga next season. Everything changes this Sunday night. It's the type of episode you'll want to watch live and not TiVo!" Fall TV: Get the lowdown on this season's must-see new shows Drop Dead Diva centers on a model who dies suddenly and whose soul finds a new body in the form of a plus-size attorney (Brooke Elliot). The series has averaged 2.3 million viewers this season. "Drop Dead Diva is a signature series for Lifetime that continues to resonate with audiences with its heart and humor," Lifetime Networks' President and General Manager, Nancy Dubuc, said in a statement. "We are thrilled to bring it back for another season." The series' Season 3 finale airs Sunday at 9/8c on Lifetime. Are you excited for more Drop Dead Diva? (Additional reporting by Natalie Abrams)

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Director Jose Padilha talks RoboCop remake

If you're in the camp that hates remakes of existing films and brands them pointless then director Jose Padilha's description of the upcoming RoboCop reboot at least sounds like a step in the right direction.The Brazilian says he won't simply repeat Paul Verhoeven's work from the 1987 film."I love the sharpness and political tone of RoboCop and I think that such a film is now urgently needed. But I will not repeat what Verhoeven has done so clearly and strongly," Padilha told Dutch entertainment website film1.Perhaps less encouragingly, he also says the film will raise some important issues."Instead I try to make a film that will address topics that Verhoeven untreated. If you are a man changes into a robot, how do you do that? What is the difference between humans and robots developed? What is free will? What does it mean to lose your free will? Those are the issues." Would you buy that for a dollar?

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TV Ratings: All Three Evening Newscasts See Viewer Growth for First Time in Nine Years

Ida Mae Astute/ABC The network evening newscasts are seeing viewer growths for the first time since the 2001-02 season. NBC Nightly News with Brian Williams is up 2.7 percent; ABC World News with Diane Sawyer, 3.3 percent; and CBS Evening News with Scott Pelley is up 2.7 percent, as TV Newser points out. They gained a combined 637,000 total viewers in the 2010-11 season, but lost 739,000 viewers in the 2009-2010 season -- so viewership is up, but not at the same level as the 2008-2009 season, when President Barack Obama was elected and inaugurated. NBC is up 1.4 percent and CBS, 1.7 percent, in the 25-54 demo this season, as TV Newser also reports. World News was flat; Katie Couric anchored the first eight months of the season, with Pelley taking over in June. In the 25-54 demo, Nightly News with Brian Williams has 2.6 million viewers (8.79 overall), World News with Diane Sawyer has 2.13 (7.81 overall) and CBS Evening News with Scott Pelley has 1.77 (5.87 overall). Each of the newscasts have changed their executive producers this season as well. RELATED: 'Two and a Half Men's' Ashton Kutcher vs. Charlie Sheen Ratings: Who's #Winning? TV Ratings: '2 Broke Girls' Debut Scores, 'The Playboy Club' Starts Slow Brian Williams Diane Sawyer Scott Pelley

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Michael Bloomberg Is America's Wealthiest Media Mogul

Bill Gates, with $59 billion, is by far the richest person in America, and Warren Buffett is second with $39 billion, according to the annual list from Forbes magazine. The first media mogul on the list released Wednesday is Michael Bloomberg, who is No. 12 with $19.5 billion. PHOTOS: 9 Highest-Paid Entertainment CEOs Others from media cracking the list of the 400 richest Americans include Cox Enterprises major shareholder Anne Cox Chambers ($12 billion), News Corp's. Rupert Murdoch ($7.4 billion), Dish and EchoStar founder Charles Ergen ($6.4 billion), DreamWorks cofounder David Geffen ($5.5 billion) and Liberty Media's John Malone ($4.5 billion). Viacom's Sumner Redstone is 80th on the list with $4.1 billion, and a little further down is George Lucas ($3.2 billion), Steven Spielberg ($3 billion), Oprah Winfrey ($2.7 billion) and HDNet's Mark Cuban ($2.3 billion). PHOTOS: Hollywood's Top Earners Ted Turner, who lost billions during the AOL Time Warner debacle, is No. 212 on the list with $2 billion, just behind and ahead of several heirs of publishing magnate William Randolph Hearst. Several new-media pioneers, which Forbes categorizes as tech moguls, placed much higher than traditional media executives. Amazon.com founder Jeff Bezos, Google founders Sergey Brin and Larry Page and Facebook founder Mark Zuckerberg, for example, all placed in the Top 20. Avatar and Titanic director James Cameron did not make the list, nor did anyone who is primarily known as an actor. The complete list is here. Related Topics Avatar Titanic Time Warner George Lucas James Cameron Oprah Winfrey Rupert Murdoch Steven Spielberg Sumner Redstone Viacom Mark Zuckerberg News Corp. Facebook AOL David Geffen Bill Gates Dreamworks Studios

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Emilio Romano New Telemundo Leader

NBCUniversal features that Emilio Romano — a skilled media executive who most recently was Boss of Grupo Mexicana p Aviacion, where he was responsible for the greatest financial restructuring inside the airline travel’s history — remains attracted on as leader of Telemundo. He'll lead the broadcast network which is 14 possessed stations additionally to Telemundo Art galleries, the important thing producer of original The the spanish language language-language primetime content for Hispanics in the usa. More youthful crowd will oversee what is the news and Sports divisions, Telemundo Worldwide, Telemundos Digital Media group, the systems advertising and marketing models, and cable network mun2. His extensive knowledge of Hispanic media combined by having an n established record running large-scale companies is a superb addition for the Telemundo management team,” mentioned Lauren Zalaznick, Chairman NBCUniversal Entertainment & Digital Systems and Integrated Media, to whom Romano will report. “We will benefit greatly from his expertise across multiple media platforms — mainly within the Mexican market — after we still broaden Telemundos overall appeal inside the vibrant and diverse Hispanic community. Through the the 19 nineties, Romano was Grupo Televisas Director of Mergers & Purchases after which Vice-Leader of Worldwide Methods. More youthful crowd will be a part of the board of company company directors at Univision Communications and directed several transactions, which he co-handled Cablevisin, the greatest cable network in Mexico. In 2001, Emilio co-founded Border Group and offered becoming an agent to entertainment and media companies.

Cabaret

A Reprise Theater Company presentation from the musical by 50 percent functions with book by Joe Masteroff and music and lyrics by John Kander and Fred Ebb. Directed and choreographed by Marcia Milgrom Dodge. Musical director and additional orchestrations, Christy Crowl set, John Iacovelli costumes, Kate Bergh, lighting, Jared A. Sayeg appear, Philip G. Allen connect choreographer, Bradley Benjamin connect music director, Lloyd Cooper music coordinator, Joe Soldo technical director, Kaira Enlow. Opened up up, examined Sept. 14, 2011. Runs through Sept. 25. Running time: 2 Several hours, 40 MIN.Clifford Bradshaw - Rob McLean The Emcee - Bryce Ryness Fraulein Schneider - Mary Gordon Murray Herr Schultz - Robert Picardo Sally Bowles - Lisa O'Hare With: Zach Bandler, Mark C. Reis, Katrina Lenk, Aurore Joly, Katherine Malak, Janelle Junio, Bradley Benjamin, Brett Leigh, Jenna Coker-Manley, Rachel Crissman, Christopher Zenner, Josh Walden, Justin Michael Wilcox, Jonathan Mercer.Each of them possess a word game game titles, beginning using the letter "c," and so they were put together by John Kander and Fred Ebb. "Cabaret," however, is not "Chicago." Marcia Milgrom Dodge directs the first sort as if it counseled me vibrant lights and windy city with flappers from the Roaring Twenties. When the Nazis finally make their belated appearance within the finish of act one, you half expect cops with machine guns to raid the region. It's odd going to a Berlin club converted to a speakeasy. Something in the reverse happened when Bob Fosse staged the first Broadway output of "Chicago" in 1975. Hot in the movie "Cabaret," he introduced a "Blue Angel" use the completely new Kander and Ebb show, while using women wearing top hats as well as the boys swinging tassels utilizing their hard nipples. Auds felt the disconnect as well as the show carried out only couple of years on Broadway. Today, in the present pared-lower revival, the tuner is well into its 15th year. But to "Cabaret" at Reprise. Sally Bowles (Lisa O'Hare) doesn't achieve say "divine decadence" in Joe Masteroff's version, in addition that's missing underneath all the giddy good-occasions glare within the Freud Playhouse. Would somebody please arrive the dark?! John Iacovelli's gawdy set and Kate Bergh's sparkly costumes don't help. For Dodge, she helmed a provincial Broadway revival of "Ragtime" this past year, and she's no better along with her stars or staging here. The Package Kat Klub stage was the German world in Mike Mendes and Make the most of Marshall's definitive Roundabout production. Here, Dodge frequently separates the club within the outdoors with monolithic posts of curtains. Worse, what's happening either upstage or downstage is brass band there's no bronze finish. Ignore any patina of decay. O'Hare's strident Sally lacks vulnerability. Rob McLean's wandering Clifford resembles among people Joe College types William Haines carried out in the dozen quiet movies before he increased being Hollywood's favorite interior decorator. But it's difficult to believe that this Christopher Isherwood stand-in has are you currently east of Omaha, a more compact amount seen London, Venice now Berlin. Since the Emcee, Bryce Ryness is fortunate getting a face that Grosz could love. Otherwise, he's virtually an average-problem Emcee, epicene and oily, but he's doing possess a couple of great quiet moments: When he is not undertaking, he becomes another guy entirely. We are able to less than tell which kind of guy, but taking into consideration the atmosphere outdoors the club entrance doors, he's not likely into just collecting china. In Dodge's cartoon Package Kat Klub, the dancers' crossdressing as well as the gay boys' flirtations and Sally's promiscuity a multitude of cute distractions to drown the Nazi noise. (Act one finishes while using cliche from the Hitler harangue inside the audio system.) Nowhere will there be any suggestion that Berlin cabarets were one of the handful of places left in Germany being free. When the Nazis arrive, it's virtually only to cleanup the joint. Contact Robert Hofler at bob.hofler@variety.com

David Oyelowo Has One Shot

He's joining the Jack Reacher filmHaving enjoyed small yet crucial roles in two of this summer's most successful movies - The Help and Rise of the Planet of the Apes - David Oyelowo is now in talks for what could be his highest profile part yet, starring alongside Tom Cruise in One Shot. Christopher McQuarrie is writing and directing the adaptation of Lee Child's book, the ninth featuring his iconic hard nut Jack Reacher. In one of the more controversial casting choices of recent times, Cruise is playing the title character, usually described as a hulking bruiser. And no, they're not going the Avatar/performance capture route to bring Cruise up to size...One Shot finds Reacher called in to investigate the case of a sniper suspected of killing five random people in a small Indiana city. But when he arrives and starts digging into the details of the shooting, our hero soon discovers that nothing is quite what it seems and even his belief that the man in custody is guilty soon comes into question. Oyelowo is up for the role of a veteran homicide cop also investigating the shooting. Rosamund Pike was cast last month as Helen Rodin, a defence lawyer assigned to defend the man the police have nabbed. McQuarrie kicks off shooting (in more ways than one) next month in Pittsburgh. The movie itself is set for release in early 2013.

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Creative Arts Emmys: Complete Those who win List

OUTSTANDING CASTING For Any DRAMA SERIESELLEN LEWIS, Casting Director HBOMEREDITH TUCKER, Casting DirectorBoardwalk EmpireOUTSTANDING CASTING For Any MINISERIES, MOVIE Or Perhaps A SPECIALLAURA ROSENTHAL, Casting Director HBOMildred PierceOUTSTANDING CASTING For Any COMEDY SERIESROBERT J. ULRICH, CSA, Casting Director FOXERIC DAWSON, CSA, Casting DirectorGleeOUTSTANDING GUEST ACTRESS Inside A DRAMA SERIESLORETTA DEVINE as Adele Webber ABCGrey's AnatomyOUTSTANDING PROSTHETIC MAKEUP For Any SERIES, MINISERIES,MOVIE Or Perhaps A SPECIAL (Area Award: Possibility in excess of one award.)GREG NICOTERO, Special Makeup Effects Department Mind AMCANDY SCHONEBERG, Special Makeup Effects ArtistGARRETT IMMEL, Special Makeup Effects ArtistJAKE GARBER, Special Makeup Effects ArtistKEVIN WASNER, Special Makeup Effects ArtistHOWARD BERGER, Prosthetic DesignerJAREMY AIELLO, Prosthetic DesignerThe Walking DeadDays Gone ByeOUTSTANDING MAKEUP For Any MINISERIES Or Perhaps A MOVIE (NON-PROSTHETIC)JORDAN SAMUEL, Department Mind Makeup Artist REELZCHANNELCOLIN PENMAN, Key Makeup ArtistAMANDA TERRY, Additional Makeup ArtistLINDA DOWDS, Personal Makeup ArtistThe KennedysOUTSTANDING MAKEUP For Any SINGLE-CAMERA SERIES (NON-PROSTHETIC)NICKI LEDERMANN, Department Mind Makeup Artist HBOEVELYN NORAZ, Key Makeup ArtistBoardwalk EmpireBoardwalk Empire (Pilot)OUTSTANDING MAKEUP For Any MULTI-CAMERA SERIES OR SPECIAL(NON-PROSTHETIC)LOUIE ZAKARIAN, Department Mind Makeup Artist NBCJOSH TURI, Additional Makeup ArtistAMY TAGLIAMONTI, Additional Makeup ArtistDANIELA ZIVKOVIC, Additional Makeup ArtistKATHERINE O'DONNELL, Additional Makeup ArtistSaturday Evening LiveHost: Jon HammOUTSTANDING COSTUMES For Any MINISERIES, MOVIE Or Perhaps A SPECIALSUSANNAH BUXTON, Costume Designer PBSCAROLINE MCCALL, Assistant Costume DesignerDownton Abbey (Masterpiece)Part 1OUTSTANDING COSTUMES For Any SERIESGABRIELLA PESCUCCI, Costume Designer SHOWTIMEULIVA PIZZETTI, Costume SupervisorThe BorgiasLucrezia's WeddingOUTSTANDING COSTUMES For Any VARIETY/MUSIC PROGRAM Or Perhaps A SPECIAL(Juried award: Chance of one, several or no award). This can be a juried award based on a panel ofjudges in the Costumes peer group. Recommendation(s) in the jury are introduced towards the Board of Governorsfor ratification.KATE CARIN, Costume Designer HISTORYABIGAIL METCALF, Costume SupervisorGettysburg**********************************************AMANDA NEEDHAM, Costume Designer FARMNIKI DIMITRAS, Costume SupervisorPortlandiaOUTSTANDING Hair-styling For Any MINISERIES Or Perhaps A MOVIEJENNY FIFIELD-ARBOUR, Department Mind Hairstylist REELZCHANNELJUDI COOPER SEALY, Key HairstylistThe KennedysOUTSTANDING Hair-styling For Any MULTI-CAMERA SERIES OR SPECIALMARY GUERRERO, Department Mind Hairstylist ABCKIMI MESSINA, Key HairstylistJENNIFER MAZURSKY, Additional HairstylistCYNTHIA ROMO, Additional HairstylistCYNDRA DUNN, Additional HairstylistRACHEL DOWLING, Additional HairstylistDancing Using The StarsEpisode 1106OUTSTANDING Hair-styling For Any SINGLE-CAMERA SERIESSEAN FLANIGAN, Department Mind Hairstylist AMCGLORIA CASNY, Key HairstylistLUCIA MACE, Key HairstylistTHERAESA RIVERS, Additional HairstylistJULES HOLDREN, Additional HairstylistMad MenChristmas Comes But When A YearOUTSTANDING GUEST ACTRESS Inside A COMEDY SERIESGWYNETH PALTROW as Carol Holliday FOXGleeOUTSTANDING CHOREOGRAPHY MIA MICHAELS, Choreographer FOXSo You Believe You Are Able To DanceRoutines: Alice In Mia-Land "Every Little Factor She Does Is Miracle" /"Whenever We Dance" / "This Bitter Earth - About the Character of Daylight"**********************************************TABITHA D'UMO, Choreographer FOXNAPOLEON D'UMO, ChoreographerSo You Believe You Are Able To DanceRoutines: "Scars" / "Fallin" / "Out of The MindInchExceptional MUSIC DIRECTIONHARRY CONNICK Junior., Music Director PBSHarry Connick Junior., In Concert On Broadway (Great Performances)OUTSTANDING MUSIC COMPOSITION For Any SERIES (ORIGINAL DRAMATIC SCORE)GARTH NEUSTADTER, Music by PBSAmerican MastersJohn Muir Within The New WorldOUTSTANDING MUSIC COMPOSITION For Any MINISERIES, MOVIE Or Perhaps A SPECIAL(ORIGINAL DRAMATIC SCORE)CARTER BURWELL, Music by HBOMildred PiercePart FiveOUTSTANDING ORIGINAL MUSIC AND LYRICSKATREESE BARNES, Music by NBCSETH MEYERS, Lyrics byJUSTIN TIMBERLAKE, Lyrics byJOHN MULANEY, Lyrics bySaturday Evening LiveHost: Justin Timberlake (Song Title: Justin Timberlake Monologue)OUTSTANDING ART DIRECTION FOR VARIETY, MUSIC OR NONFICTION PROGRAMMING FLORIAN WIEDER, Production Designer MTVISABELL RAUERT, Art DirectorTAMLYN RAE WRIGHT, Art Director2010 MTV Video Music AwardsOUTSTANDING ART DIRECTION For Any MULTI-CAMERA SERIES MICHAEL ANDREW HYNES, Production Designer TV LANDMARALEE ZEDIKER, Set DecoratorHot In ClevelandSisterhood From The Traveling SPANX ? I Really Like Lucci: Part Two ?LeBron Is Le GoneOUTSTANDING ART DIRECTION For Any MINISERIES OR MOVIE MARK FRIEDBERG, Production Designer HBOPETER ROGNESS, Art DirectorELLEN CHRISTIANSEN-P JONGE, Set DecoratorMildred PierceOUTSTANDING ART DIRECTION For Any SINGLE-CAMERA SERIES BOB SHAW, Production Designer HBODOUGLAS HUSZTI, Art DirectorDEBRA SCHUTT, Set DecoratorBoardwalk EmpireBoardwalk Empire (Pilot)OUTSTANDING PICTURE EDITING For Any COMEDY SERIES(SINGLE OR MULTI-CAMERA)SUE FEDERMAN, Edited by CBSHow I Met Your MotherSubway WarsOUTSTANDING SINGLE-CAMERA PICTURE EDITING For Any DRAMA SERIESSIDNEY WOLINSKY, A.C.E., Editor HBOBoardwalk EmpireBoardwalk Empire (Pilot)OUTSTANDING SINGLE-CAMERA PICTURE EDITING For Any MINISERIESOR A MOVIESARAH FLACK, A.C.E., Editor HBOROBERT PULCINI, EditorCinema VeriteOUTSTANDING SHORT-FORM PICTURE EDITINGMATT O'CONNOR, Editor ESPNANTHONY MARCHEGIANO, EditorThe 2010 ESPY AwardsImages PieceOUTSTANDING PICTURE EDITING For Any SPECIAL (SINGLE OR MULTI-CAMERA)MICHAEL POLITO, Editor HBOBILL DERONDE, EditorKEVIN O'DEA, EditorKATIE HETLAND, EditorLady GaGa Is Definitely The Monster Ball Tour:At Madison Square GardenOUTSTANDING PICTURE EDITING FOR NONFICTION PROGRAMMINGLEWIS ERSKINE, Edited byALJERNON TUNSIL, Edited by PBSFreedom RidersOUTSTANDING PICTURE EDITING FOR REALITY PROGRAMMINGJOSH EARL, Supervisory Editor DISCOVERY CHANNELKELLY COSKRAN, Supervisory EditorALEX DURHAM, EditorDeadliest CatchRedemption DayOUTSTANDING ANIMATED PROGRAMFUTURAMA COMEDY CENTRALThe Late Philip J. FryMatt Groening, Executive ProducerDavid X. Cohen, Executive ProducerKen Keeler, Executive ProducerDan Vebber, Co-Executive ProducerPatric M. Verrone, Co-Executive ProducerJosh Weinstein, Co-Executive ProducerEric Horsted, Co-Executive ProducerMichael Rowe, Co-Executive ProducerLee Supercinski, Created byClaudia Katz, Created byGregg Vanzo, Animation Executive ProducerLewis Morton, Written byPeter Avanzino, Supervisory Director/Directed byScott Vanzo, Director laptop or computer GraphicsIra Sherak, Assistant DirectorOUTSTANDING SHORT-FORMAT ANIMATED PROGRAMDISNEY PREP & LANDING: OPERATION SECRET SANTA ABCJohn Lasseter, Executive ProducerDorothy McKim, ProducerKevin Deters, Compiled byOrAimed byStevie Wermers, Compiled byOrAimed byOUTSTANDING VOICE-OVER PERFORMANCEMAURICE LAMARCHE as Lrrr & Orson Welles COMEDY CENTRALFuturamaLrrreconcilable NdndifferencesOUTSTANDING INDIVIDUAL ACHIEVEMENT IN ANIMATIONDREW HODGES, Character Animator NBCCommunity: Abed's Unmanageable Christmas**********************************************JILL DANIELS, Background Painter DISNEY CHANNELDisney Phineas And FerbWizard Of Odd**********************************************John Forest, Background Design DISNEY CHANNELDisney Phineas And FerbWizard Of Odd**********************************************PETER CHUNG, Character Design CARTOON NETWORKFirebreather**********************************************Sang CHANG, Character Animator CARTOON NETWORKFirebreather**********************************************VANESSA MARZAROLI, Production Design DRMARTENS.COMLilac Wine**********************************************PHILIP BOURASSA, Character Design CARTOON NETWORKYoung JusticeIndependence DayGOVERNORS AWARDJOHN WALSHAmerica's Most WantedOUTSTANDING SPECIAL VISUAL EFFECTS For Any SERIESROBERT STROMBERG, Visual Effects Designer HBODAVID TARITERO, Visual Effects ProducerJUSTIN BALL, Visual Effects SupervisorRICHARD FRIEDLANDER, Visual Effects ProducerPAUL GRAFF, Visual Effects SupervisorSTEVE KIRSHOFF, Effects CoordinatorJ. JOHN CORBETT, Lead CompositorBRIAN SALES, Lead CompositorAH DEE, Lead CompositorBoardwalk EmpireBoardwalk Empire (Pilot)OUTSTANDING SPECIAL VISUAL EFFECTS For Any MINISERIES,MOVIE Or Perhaps A SPECIALKENT Manley, Visual Effects Supervisor HISTORYJ. DAVID EVERHART, Visual Effects ProducerMIKE YIP, Lead Visual Effects AnimatorJON RHINEHARDT, Lead Visual Effects CompositorJASON KORBER, Visual Effects CompositorJARED Johnson, Visual Effects CompositorETHAN Summer season, Lead Model MakerBRENT STEINBERG, CGI ArtistMAX POOLMAN, Effects SupervisorGettysburgOUTSTANDING STUNT COORDINATIONPEEWEE PIEMONTE, Stunt Coordinator TNTSouthlandGraduation DayOUTSTANDING Primary TITLE DESIGNANGUS WALL, Creative Director HBOROBERT FENG, Art DirectorKIRK H. SHINTANI, AnimatorHAMEED SHAUKAT, DesignerGame Of ThronesOUTSTANDING ORIGINAL Primary TITLE THEME MUSICTREVOR MORRIS, Music by SHOWTIMEThe BorgiasOUTSTANDING Seem MIXING For Any COMEDY OR DRAMA SERIES(1 Hour)VON VARGA, Production Seem Mixer FOXJUAN CISNEROS, Production Seem MixerJOSEPH DEANGELIS, Re-Recording MixerBRAD NORTH, Re-Recording MixerHouseBombshellsOUTSTANDING Seem MIXING For Any MINISERIES Or Perhaps A MOVIEHENRY EMBRY, Production Seem Mixer REELZCHANNELFRANK MORRONE, Re-Recording MixerSTEPHEN TRAUB, Re-Recording MixerLAROLD REBHUN, Music Score MixerThe KennedysLancer And LaceOUTSTANDING Seem MIXING For Any COMEDY OR DRAMA SERIES(HALF-HOUR) AND ANIMATION (Area Award: Chance of one, several or, if none includes a majorityapproval, no award.)PATRICK CLARK, Production Seem Mixer FOXJAMES F. FITZPATRICK, Re-Recording MixerFamily GuyRoad Towards The North PoleOUTSTANDING Seem MIXING For Any VARIETY OR MUSIC SERIES OR SPECIALEDWARD J. GREENE, Production Mixer FOXRANDY FAUSTINO, Music MixerPATRICK BALTZELL, PA MixerMICHAEL PARKER, Monitor MixerAmerican IdolFinaleOUTSTANDING Seem MIXING FOR NONFICTION PROGRAMMINGBOB BRONOW, C.A.S., Re-Recording Mixer DISCOVERY CHANNELDeadliest CatchRedemption DayOUTSTANDING Seem EDITING For Any MINISERIES, MOVIE Or Perhaps A SPECIALMARCEL POTHIER, Supervisory Seem Editor STARZCHRISTIAN RIVEST, Seem DesignerANTOINE MORIN, Seem Effects EditorDOMINIK PAGACZ, Seem Effects EditorGUY PELLETIER, Music and Dialogue EditorTOM TRAFALSKI, Music EditorGUY FRANCOEUR, Foley ArtistThe Support beams From The EarthThe Work Of AngelsOUTSTANDING Seem EDITING FOR NONFICTION PROGRAMMING(SINGLE OR MULTI-CAMERA)CHARLES MAYNES, Seem Editor HISTORYZACH SEIVERS, Seem DesignBRENT KISER, Seem Effects EditorGettysburgOUTSTANDING Seem EDITING For Any SERIESPHILIP STOCKTON, Supervisory Seem Editor HBOEUGENE GEARTY, Seem Effects EditorFRED ROSENBERG, Dialogue EditorMARISSA LITTLEFIELD, ADR EditorSTEVE VISSCHER, Foley EditorJENNIFER DUNNINGTON, Music EditorMARKO COSTANZO, Foley ArtistBoardwalk EmpireBoardwalk Empire (Pilot)OUTSTANDING GUEST ACTOR Inside A COMEDY SERIESJUSTIN TIMBERLAKE as Host NBCSaturday Evening LiveHost: Justin TimberlakeOUTSTANDING CINEMATOGRAPHY For Any MULTI-CAMERA SERIESSTEVEN V. SILVER, Director of Photography CBSTwo . 5 MenHookers, Hookers, HookersOUTSTANDING CINEMATOGRAPHY For Any SINGLE-CAMERA SERIESJONATHAN FREEMAN, Director of Photography HBOBoardwalk EmpireHomeOUTSTANDING CINEMATOGRAPHY For Any MINISERIES OR MOVIEDAVID KATZNELSON, D.F.F., B.S.C., Director of Photography PBSDownton Abbey (Masterpiece)Part 1OUTSTANDING CINEMATOGRAPHY FOR REALITY PROGRAMMINGCINEMATOGRAPHY TEAM OF Most harmful CATCH DISCOVERY CHANNELDeadliest CatchRedemption DayOUTSTANDING CINEMATOGRAPHY FOR NONFICTION PROGRAMMINGZACH ZAMBONI, Director of Photography TRAVEL CHANNELTODD LIEBLER, Director of PhotographyAnthony Bourdain: No ReservationsHaitiOUTSTANDING TECHNICAL DIRECTION, CAMERAWORK,VIDEO CONTROL For Any SERIESERIC BECKER, Technical Director FOXCHRISTINE A. SALOMON, Technical DirectorROBERT L. HIGHTON, CameraDAVE EASTWOOD, CameraSUZANNE EBNER, CameraJOHN REPCZYNSKI, CameraGEORGE A. PRINCE III, CameraKENNETH M. DAHLQUIST, CameraEDWIN HORTON, CameraBILL CHAIKOWSKI, CameraJOHN PERRY, CameraDANNY BONILLA, CameraDIANE BIEDERBECK, CameraALEX HERNANDEZ, CameraKEITH DICKER, CameraDANNY WEBB, CameraCHRISTOPHER Grey, Video ControlAmerican IdolFinaleOUTSTANDING TECHNICAL DIRECTION, CAMERAWORK,VIDEO CONTROL For Any MINISERIES, MOVIE Or Perhaps A SPECIALEMMETT LOUGHRAN, Technical Director PBSMIGUEL Remedy, CameraJOSEPH DEBONIS, CameraMANNY GUTIERREZ, CameraSHAUN HARKINS, CameraJOHN KOSMACZEWSKI, CameraBOB Lengthy, CameraJAY MILLARD, CameraALAIN ONESTO, CameraDAVID Cruz, CameraLARRY SOLOMON, CameraRON WASHBURN, CameraMARK WHITMAN, CameraANTHONY DEFONZO, Video ControlMATTY RANDAZZO, Video ControlPAUL RANIERI, Video ControlDon Pasquale (Great Performances In The Met)OUTSTANDING LIGHTING DESIGN/LIGHTING DIRECTION For Any VARIETY,MUSIC OR COMEDY SERIESROBERT BARNHART, Lighting Designer FOXPETER RADICE, Lighting DirectorPATRICK BOOZER, Lighting DirectorMATT FIRESTONE, Lighting DirectorSo You Believe You Are Able To DanceSeason 7 Finale (Part 2)OUTSTANDING LIGHTING DESIGN/LIGHTING DIRECTION For Any VARIETY,MUSIC OR COMEDY SPECIALROBERT DICKINSON, Lighting Designer CBSJON KUSNER, Lighting DirectorANDY O'REILLY, Lighting DirectorTRAVIS HAGENBUCH, Lighting DirectorThe 53rd Annual Grammy AwardsOUTSTANDING Pointing FOR NONFICTION PROGRAMMINGJOSH FOX, Directed by HBOGaslandOUTSTANDING WRITING FOR NONFICTION PROGRAMMINGSTANLEY NELSON, Compiled by PBSFreedom RidersEXCEPTIONAL MERIT IN NONFICTION FILMMAKINGSTANLEY NELSON, Created by PBSLAURENS GRANT, Created byMARK SAMELS, Executive ProducerSHARON GRIMBERG, Senior ProducerFreedom RidersOUTSTANDING NONFICTION SPECIALGETTYSBURG HISTORYRidley Scott, Executive ProducerTony Scott, Executive ProducerMary Lisio, Executive ProducerMark Herzog, Executive ProducerDavid McKillop, Executive Producer for HistoryMary E. 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Cowen, ProducerOUTSTANDING NONFICTION SERIESAMERICAN MASTERS PBSSusan Lacy, Executive ProducerStanley Buchthal, Executive ProducerMichael Cohl, Executive ProducerPrudence Glass, Series ProducerJulie Sacks, Supervisory ProducerMichael Epstein, ProducerJessica Levin, ProducerOUTSTANDING SPECIAL CLASS - SHORT-FORMAT LIVE-ACTION ENTERTAINMENTPROGRAMSTHE DAILY SHOW CORRESPONDENTS EXPLAIN THEDAILYSHOW.COMSteve Grimes, Executive ProducerRachel Maceiras, Senior ProducerNick Poppy, ProducerJudi Stroh, ProducerOUTSTANDING SPECIAL CLASS - SHORT-FORMAT NONFICTION PROGRAMSJAY LENO'S GARAGE JAYLENOSGARAGE.COMJay Leno, ProducerHelga Pollock, ProducerRobert Angelo, ProducerOUTSTANDING SPECIAL CLASS PROGRAMS64TH ANNUAL TONY Honours CBSRicky Kirshner, Executive ProducerGlenn Weiss, Executive ProducerSean Hayes, HostOUTSTANDING CREATIVE ACHIEVEMENT IN INTERACTIVE MEDIADISNEY ABC TELEVISION GROUP ABC.COMACADEMY Of Movement PICTURE ARTS AND SCIENCESOscar Digital ExperienceOUTSTANDING Pointing For Any VARIETY, MUSIC OR COMEDY SPECIALLONNY Cost, Directed by PBSSondheim! The Birthday Concert (Great Performances)OUTSTANDING WRITING For Any VARIETY, MUSIC OR COMEDY SPECIALDAVE BOONE, Compiled by CBSMATT ROBERTS, Special Material byMO ROCCA, Special Material by64th Annual Tony AwardsOUTSTANDING VARIETY, MUSIC OR COMEDY SPECIALTHE KENNEDY CENTER HONORS CBSGeorge Stevens, Junior., Created byMichael M. Stevens, Created byOUTSTANDING CHILDREN'S PROGRAMA CHILD'S GARDEN OF POETRY HBOSheila Nevins, Executive ProducerJacqueline Glover, Supervisory ProducerAmy Schatz, Created byBeth Aala, ProducerBeth Levison, ProducerOUTSTANDING CHILDREN'S NONFICTION, REALITY OR REALITY-COMPETITIONPROGRAMNICK NEWS WITH LINDA ELLERBEE: NICKELODEONUNDER THE INFLUENCE: KIDS OF ALCHOLICSLinda Ellerbee, Executive ProducerRolfe Tessem, Executive ProducerWally Berger, Supervisory ProducerMark Lyons, ProducerMartin Toub, Created byOUTSTANDING COMMERCIALBORN OF FIRE ? CHRYSLER 200Wieden+Kennedy, Ad AgencySerial Pictures, Production CompanyOUTSTANDING REALITY PROGRAMDEADLIEST CATCH DISCOVERY CHANNELThom Ales, Executive ProducerJeff Conroy, Executive ProducerPaul Gasek, Executive Producer for Discovery ChannelTracy Rudolph, Executive Producer for Discovery ChannelMatt Renner, Co-Executive ProducerSheila McCormack, Supervisory ProducerEthan Prochnik, Series ProducerSteven Robillard, Senior ProducerTodd Stanley, ProducerOUTSTANDING HOST For Any REALITY OR REALITY-COMPETITION PROGRAMJEFF PROBST as Host CBSSurvivorOUTSTANDING GUEST ACTOR Inside A DRAMA SERIESPAUL MCCRANE as Josh Peyton NBCHarry's LawPROGRAMS WITH MULTIPLE AWARDSBoardwalk Empire 7Deadliest Catch 4Gettysburg 4Freedom Riders 3Mildred Pierce 3Saturday Evening Live 3So You Believe You Are Able To Dance 3The Kennedys 364th Annual Tony Honours 2American Idol 2American Masters 2Disney Phineas And Ferb 2Downton Abbey (Masterpiece) 2Firebreather 2Futurama 2Glee 2The Borgias 2 Contact Variety Staff at news@variety.com

California OKs Only One-Year Extension Of Film-TV Tax Credits

Passing legislation in theCalifornia Legislature is certainly tedious with all of-evening marathon periods andhundreds of bills in the hurry to feed beforelawmakers adjourn for your year.So that it was semi-miraculous thatthe rules for California film and TV production received the OK — even if it wasscaled-back, pared-lower legislation. After passage ofAssemblyBill 1069by the Senate early today, the extension visits Governor Jerry Brown for professional forma signing.This continuation of Californias showbiz incentive programwas cut lower from 5 years to merely twelve several weeks with the condition Senate Appropriations Committee. It’s not the wanted-for five-year extensionof the $100M-per-annum Film & Television Tax Credit Program. That time element might be OK-erection dysfunction next season, despitethe states $9B budget shortfall,because of the needto halt runaway production and deal with other states offering similar or greater rules to film/TV producers. Theprogram features $3.8B in economic output and supported 20,040 jobs since its beginning this past year.

The Truth Hurts The Hollywood Reporter

Today my parent company boss received a letter from lawyers forPrometheus Global Media, the owner of The Hollywood Reporter,claiming “it has come to our client’s attention that your employee, Nikki Finke of Deadline.com, is now engaged in conduct on your behalf that crosses the line from her usual bad behavior to a concerted and unlawful attempt to disrupt THR’s business. In an effort to gain a competitive advantage for Deadline.com, Ms. Finke falsely has told THR advertisers and others in the Hollywood community that THR is experiencing financial problems [sic] will cause it to make massive layoffs, end its print edition and/or go out of business, or be sold by Prometheus.” I’m also accused of harrassing THR staffsuch as”emailing one employee with the threat of ‘humiliating’ him…” The lawyers then emailed me. Here was my response (which my boss wants me to share with you): To: Debevoise & Plimpton LLP, NYC You can stick this letter up your asses if you think you can intimidate me as a journalist who has spent months now reporting and preparing an article about The Hollywood Reporter which I plan to publish very soon. If anything I have been very circumspect about informing Hollywood about the truth regarding THR. Because the truth hurts: – This week THR laid off/fired more staffers in addition to the other staffers laid off/fired this summer alone. – I have contacted THR staffers only when they claim ‘exclusives’ that aren’t (because Deadline had the true earlier ‘exclusive’) or when THR staffers steal Deadline content (our exclusives with no reference or link). [See cease and desist letter which Deadline sent to THR on February 25th, 2011.] I have been warning other reporters and other media outlets about this as well. Which is why I plan to start “naming names” of reporters who slap their bylines on Deadline’s exclusive information. They deserve humiliation for it. – In the case of the staffer you refer to, he admitted he was wrong and changed his copy after I contacted him. – THR’s investors have complained publicly about how much red ink The Hollywood Reporter is hemorrhaging. – THR’s management have complained publicly about problems with ad sales staff and cash reserves. – THR staff keep calling me and asking for jobs saying they are worried about The Hollywood Reporter’s future. – THR keeps coming after Deadline’s staff to hire them “with a blank check” even though we have contracts. – Prometheus just removed its CEO Richard Beckman. – Your own publisher Lynne Segall shared with me multiple reports about how much red ink The Hollywood Reporter has been hemorrhaging, how much ad sales it was losing, and other negative information. She also went into the marketplace on a daily basis sharing this info with Hollywood showing Deadline was the superior buy. – Guggenheim’s Todd Boehly slandered me to Bloomberg/Business Week. You should also be aware that he in the past exhibited extremely inappropriate behavior towards me when he was offering me the THR editorship. – Prometheus’ Richard Beckman slandered me in the pages of THR and in multiple interviews and emails. – Prometheus’ Beckman and THR’s Janice Min have slandered me to multiple journalists. – THR’s Matt Belloni wrote a slanderous email about me which he circulated widely around Hollywood. – Comparing Deadline To THR in terms of editorial quality or traffic numbers is like comparing The Economist to The National Enquirer. Deadline is an elite business trade about film and TV that does not cover celebrities. Beckman himself banned his staff from using the word “trade” to describe THR which has a gossip editor running it and not a veteran business journalist. For this reason, THR’s multiple house ads slandering Deadline are misleading, false, and intended to harm us in the marketplace. As is the case with all of the above, including this letter you just sent me. Now get the fuck out of my face.

Toronto 2011: IM Global and Penny Black Team on New Financing Fund

Powerhouse sales and financing company IM Global and New York-based investment firm Penny Black are teaming on The 1840 Fund, which will focus on developing entertainment properties that can play across multiple media platforms, whether movies, live events or digital media.our editor recommendsW.E.: Venice Film ReviewCANNES: Stuart Ford's IM Global Announces Ambitious Film SlateRelated Topics•Toronto International Fil... The combination of IM Global's eye for commercially viable content and Penny Black's financial resources and entrepreneurial edge is an exciting one. We're looking forward to sourcing some great projects together," said IM Global CEO Stuart Ford in announcing the joint venture with Penny Black executive chairman Lawrence Salameno. The amount of the fund wasn't disclosed; nor was the first project. Penny Black is the business of financing early stage innovation across multiple industries. We see content consumption commanding higher degress of flexibility, driven primarily by technology options," said Salameno. Among its ventures, Penny Black has provided strategic financing for Kristin Hanggi's production company Wonder Falls Entertainment. Hanggi is the Tony Award-winning director of Rock of Ages, which is now being adapted for the big screen by Warner Bros. We see content consumption commanding higher degrees of flexibility, driven primarily by technology adoption. At the same time, capital efficiency is accelerating the time and lowering the cost of bringing new ventures to market. Networks are essential to our thesis, strong resources, talent, and capital is critical and exemplified by top-tier partners like Stuart and IM Global," Salameno continued. The 1984 Fund will look for properties such as Rock of Ages that can translate across different platforms. Another example is IM Global and parent company Reliance ADA's big-budget feature Walking with Dinosaurs, based on the wildly successful BBC television series and live event, and which they are making in partnership with BBC Worldwide and Evergreen Films. The deal was negotiated on behalf of IM Global by executive vice president of motion picture finance Michael Roban and on behalf of Penny Black by managing director Eliot Durbin. News comes on the eve of the Toronto Film Festival, where Ford will continue to sell foreign rights to Madonna's W.E., among other titles. Related Topics Toronto International Film Festival Madonna W.E.

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Which Woman Directed the Highest-Grossing Female-Helmed Movie to Date?

Madonna may have set female directors back a few decades with W.E., her Venice Film Festival premiere that has been deemed “comically bad,” “silly” and pretty much all-around awful. Fear not though, ladies: There is another female filmmaker who is making giant strides for her gender at the box office. In fact, her film crossed the $650 million mark worldwide recently, making her the director with the highest-grossing film among female helmers. Can you guess the new record holder? If you guessed Kung Fu Panda 2’s first-time director Jennifer Yuh Nelson, you are correct. In honor of this achievement, DreamWorks Animation circulated a press release today. “On behalf of everyone at the studio, it is my pleasure to congratulate Jen on having reached this awesome milestone on Kung Fu Panda 2 — a particularly notable achievement given that this was her directorial debut,” said DreamWorks Animation’s Chief Creative Officer, Bill Damaschke. “I am humbled and happy that audiences around the world continue to respond to the story and characters in Kung Fu Panda 2. No animated movie gets made without a huge team of people so I want to offer my sincere thanks and shared congratulations to all of the talented and inspiring artists who worked with me on the movie,” added Nelson. This means that Nelson is now ranked above Phyllida Lloyd (whose Mamma Mia grossed $609.8 million worldwide), Vicky Jenson (whose Shrek grossed $484.4 million) and Catherine Hardwicke (whose Twilight grossed $392.6 million worldwide). Congratulations! · DreamWorks Animation’s Jennifer Yuh Nelson Becomes the Highest-Grossing Female Director of a Film [MarketWatch.com]

VIDEO: Watch Madonna Hate on a Fan's Flowers in Venice

Madonna’s latest effort as a filmmaker, W.E., has not been the beneficiary of what you’d call especially glowing reviews out of the Venice Film Festival. Our own Stephanie Zacharek is among the more magnanimous critics to receive it there, calling it “at times comically bad. But it’s also criminally watchable.” At the other end of the spectrum are reviews citing its “galactic-level awfulness” and characterizing it as “inept, gauche and mendacious.” So what does the pop icon do when confronted with a fan? Let’s go to the videotape! I mean, it’s unfortunate, but let’s face it: When you’ve spent years lip-syncing on stage, a live microphone can really catch you off-guard. [via The Lost Boy]

Shame: Film Review

Driven by a brilliant, ferocious performance by Michael Fassbender, Shame is a real walk on the wild side, a scorching look at a case of sexual addiction that's as all-encompassing as a craving for drugs. Steve McQueen's second feature, after his exceptional debut with Hunger in 2008, may ultimately prove too psychologically pat in confronting its subject's problem, but its dramatic and stylistic prowess provides a cinematic jolt that is bracing to experience. This sexually raw film will stir considerable excitement among critics and serious audiences, making it an attractive proposition for an enterprising distributor in the wake of festival play in Venice, Telluride, Toronto and New York.our editor recommendsJeremy Renner Forms Production Company, Developing Steve McQueen Biopic (Exclusive)Brad Pitt to Produce Drama 'Twelve Years a Slave' With Steve McQueen DirectingRelated Topics•Venice International Film...•Telluride Film Festival His visual arts background evident in the bold widescreen framing and the way its protagonist's world is defined, McQueen wastes no time defining what drives Brandon (Fassbender), a 30ish New Yorker whose life is stripped of any unnecessary accoutrements or distractions. With music employed to grandiose, sensual effect, he compulsively masturbates, eyes prey in the subway and stealthily manages to nail the sexy girl his madly gregarious boss David (James Badge Dale) had been fancying all evening at a group outing. PHOTOS: Venice Film Festival: 10 Movies to Know Handsome as the devil, immaculately groomed and outwardly polite, Brandon is also the picture of coldness, with hard eyes and a terrible anger inside that presumably can only be calmed and held at bay through constant sexual release. He's a cousin of American Psycho, although no killer. Returning to his sparely decorated, personality-devoid apartment late at night, he is dismayed to find a wreck of a young woman in his bathroom. At a glance unstable, neurotic, needy and silly, Sissy (Carey Mulligan) evidently wouldn't be here if she had anywhere else to go and Brandon cannot disguise his annoyance with her disruption of his stripped down, carefully compartmentalized world. But, as it develops, she's his sister. They have nothing in common except what can only be an awful shared family history, which is left to the imagination. For Brandon, it is disturbing even to be reminded of this, let alone be forced to share in Sissy's current distress. All the same, she pulls it together to perform in a local boite, and Mulligan's heretofore unknown vocal abilities are revealed in a rendition of "New York, New York" that, protracted nearly to the breaking point, is nearly as excruciating as it is exquisite. PHOTOS: The Scene at the Venice Film Festival But Brandon flips out when he discovers Sissy with the married David, who upbraids his employee for the huge porn collection he's found on his work computer. His carefully constructed world cracking surprisingly easily, Brandon goes through the motions of attempting a proper, polite date with an interesting woman, Marianne (Nicole Behaire), but Brandon can't hack it, literally or figuratively. Instead, he descends into a sexual abyss that enters Gaspar Noe territory, including an amazingly filmed, erotically charged three-way. Given the boldness of Shame in its aesthetic approach, blunt sexuality, graphic nudity and sometimes exalted musical overlays, it's a bit of a letdown to sense that McQueen and his co-screenwriter Abi Morgan ultimately present Brandon as something of a case study in sexual aberration due to stunted emotional growth stemming from a troubled upbringing. For a film so otherwise out-there, such a formulation feels too redolent of traditional psychoanalytical explanations for what society perceives as wayward behavior. The writers surely have their reasons for going this route, but for Shame to have been as thematically forthright as are its style and lead character, it arguably would have needed to just let Brandon be what he is, take it or leave it. PHOTOS: Telluride Film Festival: 12 Movies to Know Be that as it may, Fassbender is incredible, capping a year which has also done exceptional work in X-Men: First Class and, especially, A Dangerous Method, which is hitting the festival circuit simultaneously with "Shame." It's amazing that it has taken him this long to be fully recognized, as he's got it all: Looks, authority, physicality, command of the screen, great vocal articulation, a certain chameleon quality and the ability to suggest a great deal within while maintaining outward composure, just for starters. Whether he becomes a real movie star is another matter but, when it comes to pure acting skill and potential, it's possible that Daniel Day-Lewis now has a young challenger. Exposing herself emotionally and physicly as she never has before, Mulligan is terrific in this unexpected role of a deeply wounded and troubled soul. Cinematographer Sean Babbitt and production designer Judy Becker have combined with McQueen's evocative, mostly nocturnal use of Manhattan locations to create a luxuriously appointed but impersonal, borderline rancid world in which the characters' noxious traits can stew and fester. It's all as jolting as a strong whiff of ammonia. Venue: Venice, Telluride film festivals Production: See-Saw Prods. Sales: HanWay Films Cast: Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie Director: Steve McQueen Screenwriters: Steve McQueen, Abi Morgan Producers: Iain Canning, Emile Sherman Executive producers: Tessa Ross, Tim Haslam, Peter Hampden Director of photography: Sean Bobbitt Production designer: Judy Becker Costume designer: David C. Robinson Editor:Joe Walker 99 minutes Venice International Film Festival Telluride Film Festival

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