Acad Sci-Tech Counil adds quartet

The Academy of movement Picture Arts and Sciences broadened the ranks of their Science Council to 24 with the addition of Denny Clairmont, John Hora, Bob Lambert and Milt Shefter to the roster, the org introduced Wednesday. Clairmont, among the industry's premier motion-picture camera technologists, co-founded Clairmont Camera, a camera-rental company which has developed into among the biggest on the planet. Lambert is a leader within the transition to digital technologies in film, television, gaming, social networking and emerging consumer media like a senior executive from the Wally Disney Company in excess of two decades. Shefter, a movie preservationist and leader of Miljoy Businesses, is better noted for the creation, design and control over the extensive Vital Pictures Resource Protection Program, including construction of condition-of-the-art archival facilities worldwide. This Year's - 2012 Council co-chairs are Academy governor Bill Kroyer (Short Films and have Animation Branch) and George Joblove, an electronic media technology executive and consultant. Established in 2003 through the Academy's Board of Governors, the Science Council supplies a forum for that exchange of knowledge, encourages cooperation among diverse technological interests inside the industry, sponsors guides, fosters educational activities and preserves a brief history of science of movies. Contact Christy Grosz at christy.grosz@variety.com

Lifetime Progresses With 'Blue Lagoon' Remake

"Madagascar 3: Europe's PopularInch The state trailer for Madagascar 3: Europe's Popular continues to be launched.our editor recommends'Madagascar' Spin-Off and away to Be Helmed by 'Bee Movie' Co-Director (Exclusive)Bronx Cobra Thanks 'Madagascar' for InspirationDreamWorks Developing 'Madagascar' Penguins Spinoff Movie (Exclusive) DreamWorks Animation's three dimensional threequel is placed hitting U.S. theaters on June 21, 2012 and also the film includes a voice cast which includes Ben Stiller, Chris Rock, Jada Pinkett Cruz, David Schwimmer and Frances McDormand. Madagascar 3 focuses on Alex (Stiller), Marty (Rock), Melman (Schwimmer) and Gloria (Cruz) because they make an effort to go back home to NY from Europe without bringing in the interest from the police (brought by McDormand). They're obviously became a member of by a number of of the buddies, including King Julien (Sacha Baron Cohen), Maurice (Cedric the Performer) and also the Penguins. "These pillows are full of baby wild birds!," exclaims among the penguins inside a Monte Carlo accommodation. And it has the gang getting involved in a circus act. The large question remains: Can they go back to NY City? The comedy was directed by Eric Darnell and Conrad Vernon and compiled by Noah Baumbach. Watch a clip below: PHOTO GALLERY: View Gallery The Large Screen's Evolution of Speaking Creatures Madagascar 3 Madagascar

Kenneth Branagh on Playing Laurence Olivier in 'My Week with Marilyn' (Audio)

Stephen Lovekin/Getty ImagesBen Kingsley Ben Kingsley is within foretells join the cast of Ender's Game, Odd Lot's sci-fi film adaptation from the novel by Orson Scott Card.our editor recommendsHailee Steinfeld Joins Cast of Summit's 'Ender's Game'Talent Managers Sue Author Orson Scott Card Over 'Ender's Game' Commissions (Exclusive)'Ender's Game' Lands at Summit Hugo actor Asa Butterfield is starring within the pic (Hailee Steinfeld is within discussions to become listed on it), occur the next in which the Earth is under attack by aninsect-like race and mankind has produced a fight school to coach fightingforces. Within this atmosphere makes its way into Ender Wiggin (Butterfield), a youngster who's tormented bybullies as well as an older brother but turns out to be an expert at athree-dimensional, zero-gravity laser tag-like game. That sets him on apath just as one messiah from the people Kingsley will have popular war hero presumed to become lengthy dead. Gavin Hood (X-Males Roots: Wolverine) is pointing as well as authored the script. Alex Kurtzmanand Roberto Orci are creating together with Gigi Pritzker and Linda McDonough ofOddLot Entertainment. Card and Lynn Hendee will also be creating. A Feb production start date has been penciled in. Summit may be the domestic distributor and it is co-financing. Digital Domain is another financial partner within the movie. Kingsley, repped by CAA, Jackoway Tyerman and Independent Talent within the United kingdom, is visible representing cinema pioneer George Melies in Martin Scorsese's Hugo opposite Butterfield. Email: Borys.Package@thr.com Twitter: @Borys_Package Ben Kingsley Hailee Steinfeld Ender's Game Hugo

Comcast promotes Neil Smit

Comcast Cable president Neil Smit is adding CEO to his title, the conglom announced Wednesday. Smit joined Comcast in 2010 after five years as CEO of Charter Communications. He reports to Brian Roberts, chairman-CEO of Comcast Corp. "Neil has done a phenomenal job," Roberts said. "He has driven innovation, improved the customer experience, increased the speed of the introduction of new products and has expanded our company into new opportunities for profitable growth." Contact Andrew Wallenstein at andrew.wallenstein@variety.com

London Riots Turned Into Dramatic Stage Play

GettyWoody Allen Some food for thought about the 2011-12 awards season to go along with your Thanksgiving leftovers ...our editor recommendsBrett Ratner Breaks Twitter Silence Following Oscars ExitBilly Crystal Replaces Eddie Murphy for Oscars: What Hollywood is SayingRicky Gervais Offers to Host Oscars Following Eddie Murphy, Brett Ratner Exits A best actress Oscar nomination might well be rewarded to ... an Olsen sister. An Oscar nomination might be awarded to Steve McQueen for the first time since 1966 ... only now he's British and black. Woody Allen wrote and directed a movie that made over $133 million worldwide ... yes, in this century. Francis Ford Coppola, Werner Herzog, Martin Scorsese, Steven Spielberg, and Wim Wenders -- all of whom are in their sixties or seventies -- directed 3D films, while Michel Hazanavicius, a 44-year-old Frenchman, wrote and directed a black-and-white silent film. Glenn Close may finally win an Oscar for dressing up as a man, and Leonardo DiCaprio may finally win an Oscar for dressing up as a woman. Albert Brooks may score his first Oscar nom in 24 years... for playing a Jewish mobster ... in a drama. Jonah Hill may score an Oscar nod ... period. Clint Eastwood, the 81-year-old who is best known for his work on-screen as a gun-toting tough guy and off-screen as a conservative mayor of Carmel, California, just directed his latest film using a script by -- and working in close collaboration with -- Dustin Lance Black, a 37-year-old gay screenwriter. Angelina Jolie has directed a movie, while Werner Herzog is now acting in one. The famously reclusive Terrence Malick has not only been seen in public, but has even had off-the-record conversations with journalists. Carey Mulligan gets nude in a movie ... while Kate Winslet does not. Woody Harrelson, one of the most notorious potheads and anti-authority figures of his time, may score his first best actor Oscar nod in 15 years ... for playing a cop. Michelle Yeoh, who is Asia's most famous female action star and a former Bond girl, may score her first Oscar nod for playing Aung San Suu Kyi, Asia's most famously demure and soft-spoken leader. Documentary filmmaker Steve James was screwed by the Academy's documentary branch ... again. The Academy, which is supposedly so liberal, has fallen head-over-heels for a film about Margaret Thatcher, but not for a film about George Harrison. A Harry Potter film has a shot -- a long shot, but a shot -- at scoring a best picture Oscar nod. Jessica Chastain has given a half-dozen memorable supporting performances this year -- any one of which is arguably Oscar-worthy -- but consequently may wind up without a nomination for even one of them. The Academy is allowing studios to ply journalists with food, alcohol, and parties before nominations are announced ... but has essentially banned them from breathing during phase two. Ricky Gervais insulted the famously sensitive HFPA to their faces on national television less than a year ago ... and was asked to host the Golden Globes again. Billy Crystal, who virtually nobody under the age of 25 has even heard of (he himself basically acknowledged as much), was asked to host the Oscars again. Am I forgetting others? Feel free to add to the list in the comments section below! PHOTO GALLERY: View Gallery 'J. Edgar' Premiere Red Carpet Arrivals Oscars

Southern California Theater Guide

Southern California Theater Guide November 25, 2011 Welcome to our annual theater guide, a tradition at Back Stage in which we provide proof in black and white that theater is still in full bloom in Southern California.This year we spotlight a few artists who make their livings in Los Angeles theater. We chose an artistic director, a stage manager, a director, a set designer, a music director, a lighting designer, a costumer, and of course a casting director. Each person reflects back on how he or she got here and the many reasons for continuing to make theater in what's misperceived as a strictly screen town.In addition, we include our annual list of theaters, theater companies, and related services. You'll note the more than 200 sites at which theater is being made here. We urge you to visit them, to work on their stages, to become a part of the warm community that is Southland theater.And don't forget to check Back Stage weekly, and BackStage.com much more often than that, for our theater reviews.As always, if you notice anything missing or incorrect in these listings, please let us know. And keep us posted about moves, closures, and changes in personnel.We'll see you at the theater!Dany Margolies, Executive Editor The Artistic Director Ron Sossi Those reputedly solid Midwestern values and a devotion to the methods of Jerzy Grotowski meld in Ron Sossi, founder and artistic director of the 42-year-old Odyssey Theatre. The theater has created and produced "The Chicago Conspiracy Trial" and "Tracers" and has provided its audiences with such wide-ranging fare as Euripides and Alan Ayckbourn, Lisa Loomer and Arthur Kopit, Caryl Churchill and August Wilson. Sossi, born in Detroit, attended the University of Michigan as a theater major, then UCLA for film school, thinking he would direct film. He served as an executive in the television industry for six or so years, hated it, and founded the Odyssey, to which he has remained devoted. Says Sossi, "I remember when I left, people said, 'You're crazy.' I said something like 'Well, I'd rather do a little bit of quality for the few than do shit for the millions.' "Best about theater in Los Angeles, he says, "we have some of the best actors in the world available to us." Noticeably, Sossi has collected most of them for his productions, although the theater doesn't maintain membership. And although he relies on his pool of familiar faceswhich he estimates at 2,000 actorshe holds open calls for most of the Odyssey season productions. "We first call people we know, and 50 percent of the cast ends up being those people. And the other 50 percent are people we don't know at all," he says. Among those topflight actors have been the late Franklyn Seales, Sam Anderson, Laurie O'Brien, and Beth Hogan, each of whom auditioned at an open call.Among Sossi's tasks for the future is bringing in new young audiences. He plans to begin a council composed of high schoolers, who will offer advice on bringing in their ranks. He also plans to continue pushing artistic envelopes. Possibilities for the upcoming season include a series of two evenings of theater in the darkshort plays the Odyssey will commission. Possible playwrights he mentions include Steven Berkoff, Wallace Shawn, and John O'Keefe. Looking back, Sossi fondly recalls the theater's rootsin non-narrative plays, in plays with audience involvement, in later productions that moved the audience through the three theaters on the premises, in "splashy" sets such as the water-filled one for "The Frogs." On the other hand, he cautions against gimmicks and "directorial tap dancing."His own directing seems to function on instinct and trusting his actorsafter careful casting, he points out. Of casting, he says, "You know in the first 30 seconds. It's the way they enter the space; it's the way they take command; it's the way they're smart; it's the way they're focused. It's all kinds of things. But you just know."So Sossi suggests actors assistant-direct a show and sit through the casting process. "You really see all the ways actors step on their own feet," he says. One is to not acknowledge the situation. "So an actor will come in, and you can tell they've been in a class. I'll say hi. 'Hi.' What's your name? What's your piece? And then they'll get up and say, 'Hello, my name is [so-and-so], and I would like to do a monologue from' just as if we had never had that conversation. You're not acknowledging the environment, the situation. The second [mistake] is the opposite of that: the actor who then cannot immediately throw himself into whatever the imagined situation is and really be involved with it."Sossi also decries actors who are "over-Methodized" ("I know you can cry. Now what?"), looks for imagination ("even if it's wrong for the material"), and expects technical abilities ("Do they have a sense of doing the words in order to accomplish an objective? Is there something behind the words that drives them? Or are they 'performing'? "). In sum, Sossi has led a theater in a changing city, in various economic climates, with an eye for the interesting script performed by the best actors available. So that's what an artistic director does.Dany Margolies The Director Michael MatthewsThe vivacious and talented Michael Matthews is very clear about his career ambitions. He's doing exactly what he lovesdirecting theater. He has garnered stellar reviews and multiple award nominations and wins for his directing work since arriving in L.A. in January 2005. "I've come across some of the best shows I've ever seen in L.A.," he says.Raised in South Carolina and Tennessee, Matthews honed his directing skills in Chicago for 10 years, following his graduation from Columbia College Chicago. He loves the highly regarded Chicago theater scene, but after deciding to give L.A. a try, he quickly secured a fine jobas artistic director of the gay-focused Celebration Theatre, now in its 29th season.Under his leadership, the Celebration expanded its formidable membership and volunteer force, and Matthews produced several hitsincluding "Beautiful Thing," the world-premiere musical "Play It Cool," and an adventurous adaptation of "The Bacchae," which successfully played the Edinburgh Festival Fringe. Matthews resigned as the Celebration's artistic director in 2008 but retains the title resident director, helming one company show per year.During the past few years, Matthews has earned glowing accolades for freelance directing gigs with the Blank Theatre Company ("The Temperamentals," "The Jazz Age," "The Santaland Diaries") and the West Coast Ensemble ("Three Tall Women"); he earned an NAACP Theatre Award for his direction of the Celebration's "Take Me Out," as well as other local nominations, such as for the Celebration's "The Women of Brewster Place: The Musical." Currently wrapping up its Celebration run is his acclaimed revival of the British drama "What's Wrong With Angry?"Matthews came across a great opportunity when he moved to L.A. He was introduced to director Nicholas Martin, which led to Matthews' working as assistant director on Martin's Ahmanson Theatre production of "Dead End." Matthews subsequently performed the same duties for director Sean Mathias on the Mark Taper Forum's "The Cherry Orchard." Then Martin took Matthews to NY in 2006, where he assistant-directed "Butley," starring Nathan Lane.Matthews is eagerly anticipating his next Celebration project, opening in March 2012: a small-stage version of the Broadway extravaganza "The Color Purple." He says, "It's an epic, and this will be a huge, huge challenge. But I'm so excited to be able to tell that storymy favorite book when I was a kid."Les Spindle The Casting Director Raul StaggsCasting director Raul Staggs, also the associate artistic director for L.A.'s Playwrights' Arena, was an actor kicking around the L.A. theater scene when, in 1992, he got an internship with ASK Theater Projects, a service organization for playwrights.That led to a full-time job assisting casting directors with public readings and workshop productions. "I learned everything I know about casting from CDs Lisa Zarowin, Joy Dickson, Nicole Arbusto, and Cathy Reinking," Staggs says.Eventually he was producing and casting in-house table readings of new plays. When ASK shut down, he began working as a freelance casting director, and he hasn't stopped casting since. More than anything, Staggs loves the diversity of theater in L.A.of theater styles and of actors."People who say there isn't good theater in L.A. are simply not going to the right theaters," he says."It takes a little time, but if you're diligent, you will find the theaters or companies that share your aesthetic."To date, Staggs' favorite project to cast has been "Caught" at the Zephyr. "Not only was the cast uniformly terrific," he says, "but the understudies and the replacements over the nine-month run were equally strong."In Staggs' audition room, ask questionsabout the script, the style, the character, and where to direct your scene. "I personally hate when actors stare me down with their monologues," he says. He strongly advises actors to come as prepared as possible: "If it's an original script, it tells me a lot about the actor if they ask to read the entire thing. Or if it's a revival, that they made an effort to read the published script." Also, don't forget your headshot and rsum. He looks at rsums closely for legitimate theater training and experience.Staggs wants actors to know he is on their side. "I want you to do well when you come in the room," he says."It makes me look good when directors are pleased with the choices I've given them. When I was acting, I never found a way to harness my nerves in such a way that I could truly show people what I had to offer.That's why I'm not acting anymore. But I'm definitely rooting for you.Be prepared, be on time, and find a way to show us who you are as an artist and as a person."Jessica Gardner The Stage Manager Terri Roberts "Everything I know about stage management I've learned through experience and on-the-job training," says Terri Roberts, whose most recent stage management was for "Bakersfield Mist" at the Fountain Theatre. A California native, Roberts began as a writer and actor at Whittier High School. Later, at Rio Hondo College, she was part of the college's repertory company, with which she traveled to Europe twice for the Edinburgh Festival Fringe, exposing her to backstage work such as costumes and props.About 18 years ago, Roberts transitioned from acting to writing, combining her theater background and her writing skills to work as a theater critic and features writer. She continued to write but also missed being a part of the show. So, while helping a friend with concessions at the Theatre @ Boston Court's first show, Roberts began pitching in backstage. The stage manager was impressed with her and, a year later, hired her to work as an assistant stage manager on a new Equity musical, making Roberts eligible to join Actors' Equity Association on her first show. Since then she has worked on more than 30 productions. There's always more to learn, she says: "I always try to keep an open dialogue with my actors, directors, and producers about what I can do better and differently."Being well-rounded is a quality Roberts values. "I think it benefits a stage manager to have some background in acting and production," she says, "to know exactly what designers do, and to have helped doing props and making costume repairs, etc." She thinks actors should also be aware of those thingsand of everything a stage manager does. Stage managers are usually the first ones in and the last ones out of the theater, ensuring that everything is ready and working so the actors can do their jobs. "Stage managers are fairly invisible for the most part," Roberts says. "We're kind of like the Wizard of Ozthe man behind the curtain who makes things run."Supporting the actors and crew is important to Roberts. "It's hard enough to live the life of an artist and to make a living within the creative community," she says. "There's no need to make things harder by not helping out. We're here to support each other. We're here to make art. We're here to enrich each other's lives."Melinda Loewenstein The Music Director and Performer Michael Paternostro Since moving to L.A. in 2007, New Orleansborn Michael Paternostro has received wide acclaim for his music direction in shows such as Havok Theatre Company's "Thrill Me," Musical Theatre West's "Forbidden Broadway," Reprise's "Kiss Me, Kate," and Roger Bean's "Life Could Be a Dream," for which Paternostro earned Los Angeles Drama Critics Circle and Back Stage Garland awards. His local gigs as an actor-singer-dancer have included sterling work in Musical Theatre West's "The Producers" and "Annie."The multitalented Paternostro moved to the Big Apple in 1986 and won a role in the national tour of "A Chorus Line." He studied at NY University from 1987 to 1990 and worked in NY for many years, appearing in many Broadway shows, such as "Disney's Beauty and the Beast," "Sweet Smell of Success," and the 2006 revival of "A Chorus Line."Does he prefer performing or music-directing? Apparently not eager to supply a direct answer, he says the bulk of his work has been performing, because "once you get in a show, you do eight performances a week and that's your job. Playing music and coaching people has always been a part of my life, though maybe not as much as my visible professional life."When asked to cite his most rewarding music-directing project in L.A., Paternostro replies without hesitation: "Kiss of the Spider Woman." The 1993 Kander and Ebb musical drama, despite winning seven Tony Awards, had never been produced by a Southland company until director Nick DeGruccio and his Havok producing partner, Chad Borden, tackled the formidable task at the Bootleg Theater in 2008, tapping Paternostro as music director."It was a show that terrified us all," Paternostro says. "It's very dark and challenging, and it requires a lot of craft. It was incredible for me to be part of it." He adds that the production greatly stretched his abilities: "It was the first big show I worked on out here as music director and the first time I really put together a musical staff."Paternostro is now wearing yet another hat. He is co-composing "Scary MusicalA New Musical," teaming with librettist-lyricist-composer Richard Hochberg. "We've already had a Disney ASCAP workshop," Paternostro says. "Stephen Schwartz has seen it and has enjoyed it, and so has Susan Dietz. We're having another reading in San Diego in April; then we're gearing up to do a backers audition reading in NY."Les Spindle The Set Designer Sibyl WickersheimerWith her variety of saws, about which she converses so easily (her website is www.sawgirl.com), Sibyl Wickersheimer has created an astonishing number of admirableand award-winningsets across the Los Angeles theater scene.Raised in Champaign-Urbana, Ill., the young Wickersheimer was exposed to varied sets at the Krannert Center for the Performing Arts, where her parents took her throughout her childhood. She says she never thought of herself as an artist until, while attending Washington University, where she was studying theater directing, set design teacher Bruce Bergner told her she was "too smart to be a director." Says Wickersheimer, "At the time I had no idea what that meant. I do know that set designers direct a lot of the time and have to think like a director. So that maybe makes sense out of that comment. So I took his class. It was like instant 'Oh, I see. This is what I should be doing.' "She came to UCLA for graduate school, studying under Robert Israel and Neil Peter Jampolis. But her plans to cross over among TV, film, and theater went away when she decided that "theater was so much more sculptural and in a lot of ways more imaginative," Wickersheimer explains. Not that she completely rules out onscreen opportunities. "Who knows where your career ends up going?" she says.After she graduated from UCLA, a job didn't present itself instantly. She concentrated on artwork and, she says, "that's what led me to understanding myself as a fine artist first." She also worked at Pepperdine University, as a drafting teacher and then as an assistant technical director. Eventually, she says, she started on small-theater productions, "and it kind of all came together."Not that all was easy and perfect at first. "I was building my own sets when I started out," Wickersheimer says. "And I really didn't know what I was doing. So I ended up building in my carport at my apartment building. I ended up buying my own router, and my boyfriend at the time, who's now my husband, ended up buying me a table saw. It spiraled out of control, where my neighbors were saying, 'Excuse me, you're getting sawdust all over my car.' "Her early sets were not always stable in the beginning stages, though they would usually be so by opening night. "But I had to learn a lot through failing," she says. A set for an early project, "Summertree" at the Rose Alley Theater, began to fail because one of the joints wasn't strong enough. Her boyfriend helped out at 3 a.m. The tree, she says, "ended up being beautiful, and I learned so much in doing it."As Wickersheimer looks back at her favorite sets, she mentions "The Stones," which played the Kirk Douglas Theatre in 2006. "It's a design I've been very proud of, how such an abstract world can mean so many different things based on how it's used," she says.Along the way, Wickersheimer has noticed that performers and designers "often get separated along the process of creating theater." And, she says, "that's so tragic." Her hope when working on a production is that the performers seek out their set designer and pose questions that might impact the designs. "The set usually appears, the actors go on it, and they're not really a part of the process of figuring out what the world would end up being," she says. "So, I would really encourage the interaction."Dany Margolies The Costume Designer Naila Aladdin SandersNaila Aladdin Sanders had always been interested in fashion, but while attending the Fashion Institute of Design & Merchandising, she discovered that she preferred the more creative outlet of costume design. She studied art at Immaculate Heart College in Los Angeles and was exposed to many forms of it, including watercolor painting, weaving, sculpture, textiles, and theater. She now passes on her love of art to new generations of costume designers as the costume shop manager at L.A. City College.Sanders began working in L.A. theater in the 1980s with the L.A. Actors Theater, run by Bill Bushnell and Diane White. When Bushnell opened the Los Angeles Theatre Center downtown, Sanders helped design the costume shop. In addition to her work at LACC, she has been employed consistently on outside productions since the late '90s and does eight to 10 shows a year for various theaters, including the Robey Theatre Company and the Fountain Theatre.One of Sanders' favorite projects was the Haitian trilogy "For the Love of Freedom," consisting of three plays based on the Haitian slave revolution. It was produced over the course of four years by the Robey company. She loves the historical aspect of costume design, researching the people, place, and time of the play. This project required a lot of special makeup for scars and missing eyes, which Sanders designed. She also made dog masks to allow the actors to transform into animals."I love the transformation," she says of actors stepping into costume. She teaches the actors she works with to sew, and she imparts the importance of costume to each character. "After all the rehearsals, the lights, the set, everything else is done, you bring in the costumes," she says, "and that's what transforms you or should complete the transformation for your character."Sanders enjoys the challenges of her job. In the recent production "Neighbors" at the Matrix Theatre, she says, "the actress had to shoot milk out of her breasts," so Sanders made several models "to figure out how she would squeeze them, where the water would go, how to prop it up." Sanders garnered a 2011 Ovation Award nomination for her work on the show.She is also a part of the Surface Design Association, a textile-artist networking organization, and serves on the board of directors of the Girl Blue Project, a summer enrichment program for teenage girls. Melinda Loewenstein The Lighting Designer Leigh AllenLeigh Allen, who hails from Issaquah, Wash., completed her graduate studies at U.C. Irvine in 2001. Since then, she has continually worked in technical theater throughout the Southland. "Most of my interests have been in stage management and lighting and scenic design," she says. "My primary focus during the last several years has been in lighting."Her accomplishments in this craft have been recognized with impressive honors, such as the Angstrom Award for career achievement in lighting from the Los Angeles Drama Critics Circle and several awards and nominations for individual productions, including the LA Weekly Theater Award for Stages Theatre's "Johnny Got His Gun.""My work in lighting, which averages one or two shows a month, has encompassed a little bit of everything," she elaborates. "I've done dance, 99-Seat theater, opera, cruise ships, and large musicals. I also work a lot in educational theater." Among the prominent companies she has designed for are Musical Theatre West, Native Voices, the Old Globe, Pacific Resident Theatre, Pasadena Playhouse, Civic Light Opera of South Bay Cities, and Opera Santa Barbara. Allen has also done music events and club lighting. Among her favorite assignments, she cites the aforementioned antiwar drama "Johnny Got His Gun," Antaeus' classic "Cousin Bette," and Rogue Machine's futuristic "Treefall."Of working in academic theater, Allen says, "That work tends to include a lot of training students to be stage managers and assistants, as well as lighting programmers. It's rewarding to teach kids. So many are very smart and grasp the idea of programming and running shows very quickly. There's something about the rapid pace of getting a show up and running that appeals to young people."What I love about lighting is that it's a collaborative art," she continues. "There are so many really talented and focused people in L.A. It's always a treat to work with artists of that caliber. In small theater here, most actors and directors understand the limitationsthat the companies aren't loaded with money. They are always appreciative when you are able to overcome that and create art anyway."Les Spindle Southern California Theater Guide November 25, 2011 Welcome to our annual theater guide, a tradition at Back Stage in which we provide proof in black and white that theater is still in full bloom in Southern California.This year we spotlight a few artists who make their livings in Los Angeles theater. We chose an artistic director, a stage manager, a director, a set designer, a music director, a lighting designer, a costumer, and of course a casting director. Each person reflects back on how he or she got here and the many reasons for continuing to make theater in what's misperceived as a strictly screen town.In addition, we include our annual list of theaters, theater companies, and related services. You'll note the more than 200 sites at which theater is being made here. We urge you to visit them, to work on their stages, to become a part of the warm community that is Southland theater.And don't forget to check Back Stage weekly, and BackStage.com much more often than that, for our theater reviews.As always, if you notice anything missing or incorrect in these listings, please let us know. And keep us posted about moves, closures, and changes in personnel.We'll see you at the theater!Dany Margolies, Executive Editor The Artistic Director Ron Sossi Those reputedly solid Midwestern values and a devotion to the methods of Jerzy Grotowski meld in Ron Sossi, founder and artistic director of the 42-year-old Odyssey Theatre. The theater has created and produced "The Chicago Conspiracy Trial" and "Tracers" and has provided its audiences with such wide-ranging fare as Euripides and Alan Ayckbourn, Lisa Loomer and Arthur Kopit, Caryl Churchill and August Wilson. Sossi, born in Detroit, attended the University of Michigan as a theater major, then UCLA for film school, thinking he would direct film. He served as an executive in the television industry for six or so years, hated it, and founded the Odyssey, to which he has remained devoted. Says Sossi, "I remember when I left, people said, 'You're crazy.' I said something like 'Well, I'd rather do a little bit of quality for the few than do shit for the millions.' "Best about theater in Los Angeles, he says, "we have some of the best actors in the world available to us." Noticeably, Sossi has collected most of them for his productions, although the theater doesn't maintain membership. And although he relies on his pool of familiar faceswhich he estimates at 2,000 actorshe holds open calls for most of the Odyssey season productions. "We first call people we know, and 50 percent of the cast ends up being those people. And the other 50 percent are people we don't know at all," he says. Among those topflight actors have been the late Franklyn Seales, Sam Anderson, Laurie O'Brien, and Beth Hogan, each of whom auditioned at an open call.Among Sossi's tasks for the future is bringing in new young audiences. He plans to begin a council composed of high schoolers, who will offer advice on bringing in their ranks. He also plans to continue pushing artistic envelopes. Possibilities for the upcoming season include a series of two evenings of theater in the darkshort plays the Odyssey will commission. Possible playwrights he mentions include Steven Berkoff, Wallace Shawn, and John O'Keefe. Looking back, Sossi fondly recalls the theater's rootsin non-narrative plays, in plays with audience involvement, in later productions that moved the audience through the three theaters on the premises, in "splashy" sets such as the water-filled one for "The Frogs." On the other hand, he cautions against gimmicks and "directorial tap dancing."His own directing seems to function on instinct and trusting his actorsafter careful casting, he points out. Of casting, he says, "You know in the first 30 seconds. It's the way they enter the space; it's the way they take command; it's the way they're smart; it's the way they're focused. It's all kinds of things. But you just know."So Sossi suggests actors assistant-direct a show and sit through the casting process. "You really see all the ways actors step on their own feet," he says. One is to not acknowledge the situation. "So an actor will come in, and you can tell they've been in a class. I'll say hi. 'Hi.' What's your name? What's your piece? And then they'll get up and say, 'Hello, my name is [so-and-so], and I would like to do a monologue from' just as if we had never had that conversation. You're not acknowledging the environment, the situation. The second [mistake] is the opposite of that: the actor who then cannot immediately throw himself into whatever the imagined situation is and really be involved with it."Sossi also decries actors who are "over-Methodized" ("I know you can cry. Now what?"), looks for imagination ("even if it's wrong for the material"), and expects technical abilities ("Do they have a sense of doing the words in order to accomplish an objective? Is there something behind the words that drives them? Or are they 'performing'? "). In sum, Sossi has led a theater in a changing city, in various economic climates, with an eye for the interesting script performed by the best actors available. So that's what an artistic director does.Dany Margolies The Director Michael MatthewsThe vivacious and talented Michael Matthews is very clear about his career ambitions. He's doing exactly what he lovesdirecting theater. He has garnered stellar reviews and multiple award nominations and wins for his directing work since arriving in L.A. in January 2005. "I've come across some of the best shows I've ever seen in L.A.," he says.Raised in South Carolina and Tennessee, Matthews honed his directing skills in Chicago for 10 years, following his graduation from Columbia College Chicago. He loves the highly regarded Chicago theater scene, but after deciding to give L.A. a try, he quickly secured a fine jobas artistic director of the gay-focused Celebration Theatre, now in its 29th season.Under his leadership, the Celebration expanded its formidable membership and volunteer force, and Matthews produced several hitsincluding "Beautiful Thing," the world-premiere musical "Play It Cool," and an adventurous adaptation of "The Bacchae," which successfully played the Edinburgh Festival Fringe. Matthews resigned as the Celebration's artistic director in 2008 but retains the title resident director, helming one company show per year.During the past few years, Matthews has earned glowing accolades for freelance directing gigs with the Blank Theatre Company ("The Temperamentals," "The Jazz Age," "The Santaland Diaries") and the West Coast Ensemble ("Three Tall Women"); he earned an NAACP Theatre Award for his direction of the Celebration's "Take Me Out," as well as other local nominations, such as for the Celebration's "The Women of Brewster Place: The Musical." Currently wrapping up its Celebration run is his acclaimed revival of the British drama "What's Wrong With Angry?"Matthews came across a great opportunity when he moved to L.A. He was introduced to director Nicholas Martin, which led to Matthews' working as assistant director on Martin's Ahmanson Theatre production of "Dead End." Matthews subsequently performed the same duties for director Sean Mathias on the Mark Taper Forum's "The Cherry Orchard." Then Martin took Matthews to NY in 2006, where he assistant-directed "Butley," starring Nathan Lane.Matthews is eagerly anticipating his next Celebration project, opening in March 2012: a small-stage version of the Broadway extravaganza "The Color Purple." He says, "It's an epic, and this will be a huge, huge challenge. But I'm so excited to be able to tell that storymy favorite book when I was a kid."Les Spindle The Casting Director Raul StaggsCasting director Raul Staggs, also the associate artistic director for L.A.'s Playwrights' Arena, was an actor kicking around the L.A. theater scene when, in 1992, he got an internship with ASK Theater Projects, a service organization for playwrights.That led to a full-time job assisting casting directors with public readings and workshop productions. "I learned everything I know about casting from CDs Lisa Zarowin, Joy Dickson, Nicole Arbusto, and Cathy Reinking," Staggs says.Eventually he was producing and casting in-house table readings of new plays. When ASK shut down, he began working as a freelance casting director, and he hasn't stopped casting since. More than anything, Staggs loves the diversity of theater in L.A.of theater styles and of actors."People who say there isn't good theater in L.A. are simply not going to the right theaters," he says."It takes a little time, but if you're diligent, you will find the theaters or companies that share your aesthetic."To date, Staggs' favorite project to cast has been "Caught" at the Zephyr. "Not only was the cast uniformly terrific," he says, "but the understudies and the replacements over the nine-month run were equally strong."In Staggs' audition room, ask questionsabout the script, the style, the character, and where to direct your scene. "I personally hate when actors stare me down with their monologues," he says. He strongly advises actors to come as prepared as possible: "If it's an original script, it tells me a lot about the actor if they ask to read the entire thing. Or if it's a revival, that they made an effort to read the published script." Also, don't forget your headshot and rsum. He looks at rsums closely for legitimate theater training and experience.Staggs wants actors to know he is on their side. "I want you to do well when you come in the room," he says."It makes me look good when directors are pleased with the choices I've given them. When I was acting, I never found a way to harness my nerves in such a way that I could truly show people what I had to offer.That's why I'm not acting anymore. But I'm definitely rooting for you.Be prepared, be on time, and find a way to show us who you are as an artist and as a person."Jessica Gardner The Stage Manager Terri Roberts "Everything I know about stage management I've learned through experience and on-the-job training," says Terri Roberts, whose most recent stage management was for "Bakersfield Mist" at the Fountain Theatre. A California native, Roberts began as a writer and actor at Whittier High School. Later, at Rio Hondo College, she was part of the college's repertory company, with which she traveled to Europe twice for the Edinburgh Festival Fringe, exposing her to backstage work such as costumes and props.About 18 years ago, Roberts transitioned from acting to writing, combining her theater background and her writing skills to work as a theater critic and features writer. She continued to write but also missed being a part of the show. So, while helping a friend with concessions at the Theatre @ Boston Court's first show, Roberts began pitching in backstage. The stage manager was impressed with her and, a year later, hired her to work as an assistant stage manager on a new Equity musical, making Roberts eligible to join Actors' Equity Association on her first show. Since then she has worked on more than 30 productions. There's always more to learn, she says: "I always try to keep an open dialogue with my actors, directors, and producers about what I can do better and differently."Being well-rounded is a quality Roberts values. "I think it benefits a stage manager to have some background in acting and production," she says, "to know exactly what designers do, and to have helped doing props and making costume repairs, etc." She thinks actors should also be aware of those thingsand of everything a stage manager does. Stage managers are usually the first ones in and the last ones out of the theater, ensuring that everything is ready and working so the actors can do their jobs. "Stage managers are fairly invisible for the most part," Roberts says. "We're kind of like the Wizard of Ozthe man behind the curtain who makes things run."Supporting the actors and crew is important to Roberts. "It's hard enough to live the life of an artist and to make a living within the creative community," she says. "There's no need to make things harder by not helping out. We're here to support each other. We're here to make art. We're here to enrich each other's lives."Melinda Loewenstein The Music Director and Performer Michael Paternostro Since moving to L.A. in 2007, New Orleansborn Michael Paternostro has received wide acclaim for his music direction in shows such as Havok Theatre Company's "Thrill Me," Musical Theatre West's "Forbidden Broadway," Reprise's "Kiss Me, Kate," and Roger Bean's "Life Could Be a Dream," for which Paternostro earned Los Angeles Drama Critics Circle and Back Stage Garland awards. His local gigs as an actor-singer-dancer have included sterling work in Musical Theatre West's "The Producers" and "Annie."The multitalented Paternostro moved to the Big Apple in 1986 and won a role in the national tour of "A Chorus Line." He studied at NY University from 1987 to 1990 and worked in NY for many years, appearing in many Broadway shows, such as "Disney's Beauty and the Beast," "Sweet Smell of Success," and the 2006 revival of "A Chorus Line."Does he prefer performing or music-directing? Apparently not eager to supply a direct answer, he says the bulk of his work has been performing, because "once you get in a show, you do eight performances a week and that's your job. Playing music and coaching people has always been a part of my life, though maybe not as much as my visible professional life."When asked to cite his most rewarding music-directing project in L.A., Paternostro replies without hesitation: "Kiss of the Spider Woman." The 1993 Kander and Ebb musical drama, despite winning seven Tony Awards, had never been produced by a Southland company until director Nick DeGruccio and his Havok producing partner, Chad Borden, tackled the formidable task at the Bootleg Theater in 2008, tapping Paternostro as music director."It was a show that terrified us all," Paternostro says. "It's very dark and challenging, and it requires a lot of craft. It was incredible for me to be part of it." He adds that the production greatly stretched his abilities: "It was the first big show I worked on out here as music director and the first time I really put together a musical staff."Paternostro is now wearing yet another hat. He is co-composing "Scary MusicalA New Musical," teaming with librettist-lyricist-composer Richard Hochberg. "We've already had a Disney ASCAP workshop," Paternostro says. "Stephen Schwartz has seen it and has enjoyed it, and so has Susan Dietz. We're having another reading in San Diego in April; then we're gearing up to do a backers audition reading in NY."Les Spindle The Set Designer Sibyl WickersheimerWith her variety of saws, about which she converses so easily (her website is www.sawgirl.com), Sibyl Wickersheimer has created an astonishing number of admirableand award-winningsets across the Los Angeles theater scene.Raised in Champaign-Urbana, Ill., the young Wickersheimer was exposed to varied sets at the Krannert Center for the Performing Arts, where her parents took her throughout her childhood. She says she never thought of herself as an artist until, while attending Washington University, where she was studying theater directing, set design teacher Bruce Bergner told her she was "too smart to be a director." Says Wickersheimer, "At the time I had no idea what that meant. I do know that set designers direct a lot of the time and have to think like a director. So that maybe makes sense out of that comment. So I took his class. It was like instant 'Oh, I see. This is what I should be doing.' "She came to UCLA for graduate school, studying under Robert Israel and Neil Peter Jampolis. But her plans to cross over among TV, film, and theater went away when she decided that "theater was so much more sculptural and in a lot of ways more imaginative," Wickersheimer explains. Not that she completely rules out onscreen opportunities. "Who knows where your career ends up going?" she says.After she graduated from UCLA, a job didn't present itself instantly. She concentrated on artwork and, she says, "that's what led me to understanding myself as a fine artist first." She also worked at Pepperdine University, as a drafting teacher and then as an assistant technical director. Eventually, she says, she started on small-theater productions, "and it kind of all came together."Not that all was easy and perfect at first. "I was building my own sets when I started out," Wickersheimer says. "And I really didn't know what I was doing. So I ended up building in my carport at my apartment building. I ended up buying my own router, and my boyfriend at the time, who's now my husband, ended up buying me a table saw. It spiraled out of control, where my neighbors were saying, 'Excuse me, you're getting sawdust all over my car.' "Her early sets were not always stable in the beginning stages, though they would usually be so by opening night. "But I had to learn a lot through failing," she says. A set for an early project, "Summertree" at the Rose Alley Theater, began to fail because one of the joints wasn't strong enough. Her boyfriend helped out at 3 a.m. The tree, she says, "ended up being beautiful, and I learned so much in doing it."As Wickersheimer looks back at her favorite sets, she mentions "The Stones," which played the Kirk Douglas Theatre in 2006. "It's a design I've been very proud of, how such an abstract world can mean so many different things based on how it's used," she says.Along the way, Wickersheimer has noticed that performers and designers "often get separated along the process of creating theater." And, she says, "that's so tragic." Her hope when working on a production is that the performers seek out their set designer and pose questions that might impact the designs. "The set usually appears, the actors go on it, and they're not really a part of the process of figuring out what the world would end up being," she says. "So, I would really encourage the interaction."Dany Margolies The Costume Designer Naila Aladdin SandersNaila Aladdin Sanders had always been interested in fashion, but while attending the Fashion Institute of Design & Merchandising, she discovered that she preferred the more creative outlet of costume design. She studied art at Immaculate Heart College in Los Angeles and was exposed to many forms of it, including watercolor painting, weaving, sculpture, textiles, and theater. She now passes on her love of art to new generations of costume designers as the costume shop manager at L.A. City College.Sanders began working in L.A. theater in the 1980s with the L.A. Actors Theater, run by Bill Bushnell and Diane White. When Bushnell opened the Los Angeles Theatre Center downtown, Sanders helped design the costume shop. In addition to her work at LACC, she has been employed consistently on outside productions since the late '90s and does eight to 10 shows a year for various theaters, including the Robey Theatre Company and the Fountain Theatre.One of Sanders' favorite projects was the Haitian trilogy "For the Love of Freedom," consisting of three plays based on the Haitian slave revolution. It was produced over the course of four years by the Robey company. She loves the historical aspect of costume design, researching the people, place, and time of the play. This project required a lot of special makeup for scars and missing eyes, which Sanders designed. She also made dog masks to allow the actors to transform into animals."I love the transformation," she says of actors stepping into costume. She teaches the actors she works with to sew, and she imparts the importance of costume to each character. "After all the rehearsals, the lights, the set, everything else is done, you bring in the costumes," she says, "and that's what transforms you or should complete the transformation for your character."Sanders enjoys the challenges of her job. In the recent production "Neighbors" at the Matrix Theatre, she says, "the actress had to shoot milk out of her breasts," so Sanders made several models "to figure out how she would squeeze them, where the water would go, how to prop it up." Sanders garnered a 2011 Ovation Award nomination for her work on the show.She is also a part of the Surface Design Association, a textile-artist networking organization, and serves on the board of directors of the Girl Blue Project, a summer enrichment program for teenage girls. Melinda Loewenstein The Lighting Designer Leigh AllenLeigh Allen, who hails from Issaquah, Wash., completed her graduate studies at U.C. Irvine in 2001. Since then, she has continually worked in technical theater throughout the Southland. "Most of my interests have been in stage management and lighting and scenic design," she says. "My primary focus during the last several years has been in lighting."Her accomplishments in this craft have been recognized with impressive honors, such as the Angstrom Award for career achievement in lighting from the Los Angeles Drama Critics Circle and several awards and nominations for individual productions, including the LA Weekly Theater Award for Stages Theatre's "Johnny Got His Gun.""My work in lighting, which averages one or two shows a month, has encompassed a little bit of everything," she elaborates. "I've done dance, 99-Seat theater, opera, cruise ships, and large musicals. I also work a lot in educational theater." Among the prominent companies she has designed for are Musical Theatre West, Native Voices, the Old Globe, Pacific Resident Theatre, Pasadena Playhouse, Civic Light Opera of South Bay Cities, and Opera Santa Barbara. Allen has also done music events and club lighting. Among her favorite assignments, she cites the aforementioned antiwar drama "Johnny Got His Gun," Antaeus' classic "Cousin Bette," and Rogue Machine's futuristic "Treefall."Of working in academic theater, Allen says, "That work tends to include a lot of training students to be stage managers and assistants, as well as lighting programmers. It's rewarding to teach kids. So many are very smart and grasp the idea of programming and running shows very quickly. There's something about the rapid pace of getting a show up and running that appeals to young people."What I love about lighting is that it's a collaborative art," she continues. "There are so many really talented and focused people in L.A. It's always a treat to work with artists of that caliber. In small theater here, most actors and directors understand the limitationsthat the companies aren't loaded with money. They are always appreciative when you are able to overcome that and create art anyway."Les Spindle

Cinematic art attack

'Melancholia,' which premiered at Cannes, nabbed eight Euro Film award nominations, including two for helmer Lars von Trier.Kirsten Dunst gives Lars von Trier a withering look at the infamous 'Melancholia' presser in Cannes. Dunst went on to win best actress at the fest.The European Film Awards unabashadly embraces auteurs, like the Dardennes' brothers 'Kid with a Bike.'On Dec. 3 the curtain goes up on the European Film Awards in Berlin, but those TV viewers expecting to see a stream of Hollywood stars coming onstage will be disappointed, as this is a night when the leading players of the European arthouse scene get their moment in the limelight.True, there will be some faces that the multiplex crowd will recognize -- Kirsten Dunst, Tilda Swinton and Colin Firth are all nominees, and other thesps who are well-known in their home countries, such as French thesps Cecile de France, Charlotte Gainsbourg and Jean Dujardin -- but the true stars of this event tend to be the auteurs, with Aki Kaurismaki, Susanne Bier and Bela Tarr among the nominees this year. The live broadcast will be available in more than 100 countries on four continents.But the helmer that everyone will be keeping the closest eye on this year -- if he turns up -- will be Lars von Trier, and for all the wrong reasons.Earlier this year at Cannes, von Trier sabotaged his chances of winning a major award by joking that he was a Nazi and that he sympathized with Adolf Hitler. He has since apologized, but it was still a surprise to find out that the 2,600 members of the European Film Academy had given his latest film, "Melancholia," eight nominations -- more than any other film -- including two for von Trier himself, for director and scriptwriter."It was a surprise for us too," says von Trier's business partner Peter Aalbaek Jensen, who is exec producer on "Melancholia." "As you know, the film has had a strange career. I was expecting there to be a bit of animosity out there."The academy has never shied away from making controversial choices. Last year it awarded Roman Polanski prizes for director and scriptwriter (shared with Robert Harris) for "The Ghost Writer," which also nabbed the best film award as well as three other honors. This was only months after he was freed from house arrest in Switzerland following the failure of the U.S. authorities to have him extradited for sentencing on charges that he had sex with a 13-year-old girl in 1977.Aalbaek Jensen says the noms show that the academy members were able to distinguish between the film and the comments made by von Trier.Not that Aalbaek Jensen wishes to distance himself from his friend. He feels the EFA recognition vindicates his faith in von Trier, however problematic that relationship has proved at times.The two men formed their production company, Zentropa, in 1992, and the past few years have been as tough as any. So the fact that the company has two films nommed for best film at the EFAs -- Zentropa also produced Bier's foreign-language Oscar-winning film, "In a Better World," which had four noms -- proves that it has been a worthwhile journey.Aalbaek Jensen has worked with Bier for almost as long as with von Trier, and he says such loyalty is unusual for the film business."It certainly proves that it pays to stick together and to be loyal. I'm so proud that they have come so far."RELATED LINKS: Nominees reflect robust film business Contact Leo Barraclough at leo.barraclough@variety.com

California's Prop. 8 Moves Nearer to a Showdown in U.S. Top Court

The California Top Court ruled Thursday that supporters of Proposition 8, the anti-marriage equality measure, are legally titled to protect the ballot measure in the court since the governor and condition attorney general rejected to do this.our editor recommendsAFM 2011: Take advantage of Reiner Planning Film on Proposition 8 Legal CaseStars singing out against Proposition 8Dustin Lance Black Debuts Prop. 8 Play in NYStar-Studded Cast Debuts Dustin Lance Black's Prop. 8 Play Related Subjects•Politics The ballot initiative became one of Hollywood's top causes with industry people giving talent and cash within the fight to overturn it, including Take advantage of Reiner, David Geffen, Steve Bing, Morgan Freeman and Ellen Barkin. The American Foundation for Equal Privileges, brought by board leader and Hollywood political consultant Chad Griffin, may be the sponsor from the federal court challenge towards the proposition. The condition court's decision transmits the situation to the U.S. Ninth Circuit Court of Appeals, which now have to research whether Prop. 8 violates the equal protection clause from the U.S. Metabolic rate. Because the problem already continues to be briefed and contended towards the court, a ruling should come relatively soon. If the appellate justices decide upon or from the initiative, their ruling is anticipated to become become a huge hit towards the U.S. Top Court. STORY: Take advantage of Reiner Planning Film on Proposition 8 Legal Situation "Our litigants are thrilled to become back to federal court, back around the steps for success and headed to some place where these loving couples...can cost nothing to marry," stated Chad Griffin, the board leader from the American Foundation for Equal Privileges. When the high court accepts the appeal, which most legal experts expect it to complete, a number of final results are possible. Even when the justices sustain the constitutionality of Prop 8, a narrowly attracted decision most likely could leave the states free to select the legitimacy of marriage equality on the condition-by-condition basis. The 2008 anti-marriage equality measure has labored a tortured course with the electoral and legal process. It had been drafted to overturn an early on ruling through the California Top Court, acknowledging that same-sex couples possess a constitutional to marry. STORY: Dustin Lance Black Debuts Prop. 8 Play in NY After its passage, professional-marriage equality competitors of Prop. 8 prosecuted in federal court, alleging the condition measure violated the government Constitutional privileges of gays and lesbians. U.S. Judge Vaughn Master agreed and, this year, overturned the initiative. Once the governor and condition attorney general rejected to appeal his ruling, the measure's backers required in the cause and requested the Ninth Circuit to strike lower Walker's decision. Before handing lower a choice around the trial court's ruling, however, the Ninth Circuit requested the state's high court to determine if the proposition's supporters had legal standing to protect the measure. With this question resolved, the appellate court now's liberated to move ahead, and also the consensus among legal experts is the fact that they are prone to sustain Walker's ruling knocking over Prop. 8. The California Supreme Court's unanimous opinion was compiled by Chief Justice Tani Cantil-Sakauye. "The lack of ability from the official advocates of the initiative measure to appeal an effort court judgment invalidating the measure, once the public authorities who ordinarily would file this kind of appeal decline to do this,Inch she authored, "would considerably undermine the initiative energy. "It's been simply shameful to determine Governor Jerry Brown, his predecessor Arnold Schwarzenegger and Attorney General Kamala Harris abdicate their constitutional responsibility to protect Proposition 8 in the court," stated John Brown, NOM's leader. "Although present day ruling in the California Top Court verifies the advocates of Prop. 8 have the authority to defend their initiative once the condition authorities won't fulfill their sworn duty, it's satisfying to understand the over 7 million Californians who supported the initiative may have a energetic defense of the decision within our federal courts." Related Subjects Dustin Lance Black Morgan Freeman Take advantage of Reiner David Geffen Politics

'Dancing With the Stars' Finalists Visit 'Jimmy Kimmel Live!' (Video)

The three remaining contestants of Dancing With the Stars, Rob Kardashian, Ricki Lake and J.R. Martinez, dropped by Jimmy Kimmel Live! on Tuesday.our editor recommends'Dancing With the Stars' Eliminates Hope and Maks Just Shy of the Season 13 Finale'Dancing With the Stars': J.R. Martinez Promises to Behave at Rehearsal (Video)'Dancing With the Stars' Season 13: Rehearsals Soccer star Hope Solo who was eliminated from the show that night, did not make a late-night show appearance as many other ousted contestants had in the past. PHOTOS: 'Dancing With the Stars' Season 13: Rehearsals Kimmel asked the contestants if they were surprised that they were the final three left on the dancefloor. "I know for a fact that I wasn't a favorite of any of you guys," said Lake. She called it "a miracle" that she was in the finals. VIDEO: 'Dancing With the Stars': J.R. Martinez Promises to Behave at Rehearsal When asked if he thought he was better than his sister (Kim Kardashian) dancing-wise, Rob Kardashian said, "I would hope so." Lake said that Kardashian gets "Most Improved." Kimmel asked each of them who was the favorite to win. Lake pointed at Kardashian. "Here's the thing, I think he could win it because of all his fans and his sisters' fans." STORY: 'Dancing With the Stars' Eliminates Hope and Maks Just Shy of the Season 13 Finale Martinez talked about his military experience, and Lake, who is engaged discussed dancing at her upcoming wedding. Lake said her DWTS partner, Derek Hough, has offered to help her fiancé learn some moves. When Lake imppromptly asks the other contestants if they will come to her wedding, Kimmel can't help but throw out a zinger about Rob Kardashian's sister Kim's ill-fated 72-day marriage to Kris Humphries. "Don't have Rob at the wedding, he's bad luck at weddings," said Kimmel. STORY: 'Dancing With the Stars': Maksim Chmerkovskiy Has a Four-Letter Word for Carrie Ann Inaba Kardashian seems to laugh along, sayin, "It's all good I like comedy." "I would like to see an all-Kardashian edition of Dancing With the Stars," added Kimmel. As for the final competition, the three contestants said they will be leaving it all on the dancefloor. "All the chips are in," said Martinez. "It's now or never." ABC Jimmy Kimmel Dancing with the Stars Jimmy Kimmel Live!

Alexander Payne, 'The Descendants' Director, on George Clooney, 'Election,' and Adam Sandler

"That's why I got into directing, so I can just protect what I wrote." Those are the words of Academy Award-winning screenwriter and an Academy Award-nominated director Alexander Payne, after recounting his story of what it's like to work with Adam Sandler. Payne wrote a screenplay that looks nothing like the finished, and quite terribly received, 'I Now Pronounce You Chuck and Larry' (as he puts it, his script was "Sandlerized"), a movie that Payne now, retroactively, regrets not directing himself. Which would have been an interesting choice, considering that Payne hasn't directed a film since 2004's Oscar darling, 'Sideways.' That is, until now: With his new film, 'The Descendants,' Payne is right back in the heat of the Oscar discussion. (Also, for the record, Adam Sandler has nothing to do with 'The Descendants.') In Payne's 'The Descendants,' George Clooney stars as Matt King, a man whose wife was just involved in a terrible boating accident, leaving her in a coma. Which would be bad enough if Matt also didn't have to deal with the newfound realization that his now-comatose wife was having an affair with a successful real estate agent (played by Matthew Lillard). Moviefone sat down with Payne for a long discussion about his return to directing, the nuances of directing stars like Clooney and Jack Nicholson, why he cast comic Rob Huebel and the somewhat forgotten Mathew Lillard in 'The Descendants,' his experiences with Adam Sandler, and how 'Election' was inspired by 'Casino.' (Oh, but not before I asked Payne the most idiotic question he's heard all day.) I know not all of your movies take place in the Midwest, but why did you want to make a movie in Hawaii? I've never seen Hawaii portrayed quite that way... [Laughs] That's the most idiotic question I've heard all day! Why Hawaii? That's fair. OK, why don't you make every movie in Hawaii? Not a bad idea. But, seriously, not just for the obvious -- the sun and the surf and all that kind of stuff -- the social fabric there is pretty complex and pretty interesting. I don't know if you've ever been out there... I have not. Go. Your casting choices are very interesting. I wasn't expecting to see Rob Huebel and Matthew Lillard. You're the first guy to pick up on Rob Huebel. Yeah, nobody has asked about him so far. Well, I just don't think of him as a guy in a dramatic role. And Mary Birdsong comes from improv; she was on 'Reno 911.' And Matt Lillard and Judy Greer are all quite adept at comedy. Plus, Clooney himself. So I feel quite comforted having comedic actors around doing dramatic parts. Why is that? Because they know the absurdity that lies beneath all human experience. And they also might have sharper timing. Also, just on an experience level, in auditioning all of those parts, so many people came in and auditioned those things in such a heavy fashion, or a melodramatic fashion. I began to doubt the screenplay. I spoke to Matthew Lillard. I have to admit that I'm happy to have him back in movies, but why Matthew Lillard? Well, I'd never seen him in anything. I'd seen 'Scream' many years ago, but I didn't remember it. He just auditioned well. And I had no idea that he was in 'Scooby-Doo' movies until after I cast him. He mentioned that he almost canceled his audition because he had a prior commitment with his family. I think he got the call that morning. And he had his family in the car downstairs and he goes, "I'm really sorry, I don't mean to be a dick, but I just have to do this fast and go because I have my family in my car." And he didn't expect to get the part anyway. I told him later when I called him up to cast him, "You should do more auditions with your family in the car, because you did it quickly and efficiently." One thing that drives me nuts is actors who take forever in an audition. They think doing it slowly and really milking the moments is a way to go -- and it isn't. Just stand there, recite the dialogue exactly as written and beat it. Why do you think actors milk the moments? They want to impress. My heart goes out to them, you know -- they want to do a good job. It's tough in an audition, too, because the whole situation is so intimidating. So it requires indicating. You can't do real human behavior because nothing around you is real. What's the difference in your directing style when you're directing a big star like George Clooney or Jack Nicholson? [Pauses] The only difficult part about working with Jack Nicholson was the attitude of the crew toward him. A lot of reverence. Which means, "Oh, let's make sure he's always comfortable. Let's immediately get him back to his trailer. Let's do this. Let's do that." And it never came from Jack, who was nice as pie and totally game. But he's like the pope. Paul Giamatti and Clooney, however, make it very clear early on that they want to hang out on set and just be part of the crew. And they are crew people, but their job on the crew just happens to be acting. They don't think they're any more important than the gaffer or the key grip. Things move quickly when you have actors who are game like that ... and I like to move quickly. With Clooney, are there any special nuances needed because you're directing a guy who is a director himself? It makes it easier. You actually need fewer nuances. Don't forget, he and Nicholson both directed movies. It's so much easier to direct an actor who has himself or herself directed because they understand the director's problem. And they are only too eager to serve and make it easy on the director. And they know what pains in the ass actors can be. I always envisioned set confrontations like, "Well, if I were directing, I'd do it this way." I've heard stories of Orson Welles saying, "You're putting the camera there?" But that's just anecdotal. Like, I would love to know what is was like to direct John Huston. He was in a number of films -- notably, 'Chinatown.' But I'd like to know what he was like on set. You should make a movie in which all of your actors are also directors. For example, I always enjoyed the late Sydney Pollack as an actor. He's wonderful. He was so good in 'Husband and Wives.' Even more recently, he was great in 'Michael Clayton.' Yeah, 'Michael Clayton' ... and 'Tootsie.' And even, he brought a lot of life to 'Eyes Wide Shut.' That's my favorite character in that movie. He lightened the film a little bit. The film is a bit lugubrious. Do you want to act? I would. I would enjoy it, but I would need a good director. Actually, when I think about myself acting, I think I'd enjoy stage more. Because then you have the energy from the live audience to propel you -- and I can be a bit of a ham. But to find emotions in front of that hideous, blinking cyclops ... and all of those lights and all of those burley men, it's very off-putting. I have immense respect for film actors who can remain focused and concentrate with all of that shit going on around them. You seem to have a lot of luck with the actors that you've worked with. [Nodding] I cast well! Has it always worked out? There's only one actor I've had who was very difficult. And you can't say who it is. Why does it take so long for your movies to get made? It seems like a few projects have fallen apart. Yes and no. I mean, from 1996 to 2004, I had four movies in pretty fast succession. I've had two gaps, from 1990 to 1995, which was my graduation from film school -- and now from 'Sideways' to this. I wanted to jump immediately and make another film, but Jim [Taylor] and I got stuck writing this really hard script that I still haven't made: A large canvas, science-fiction satire film, which I'll get back to in a couple of years. But I want, now, to move very quickly from film to film. Is 'Nebraska' officially next? It's tentatively called 'Nebraska.' It's a father-son road trip from Billings to Lincoln. Is that cast yet? No. I've seen Gene Hackman's name mentioned... That's all bullshit. It's true that we have talked about those actors, but no offer has been made. I'm not sure if this is a sore subject or not, but what happened with the 'I Now Pronounce You Chuck and Larry' situation with Adam Sandler. I can tell you exactly what happened. Adam Sandler has his own way of making movies. Let me just say, when Jim [Taylor] and I wrote that script, we didn't write it for Adam Sandler. We wrote it for a director named David Dobkin who did 'Wedding Crashers.' And he was supposed to do that and we were brought on to make that premise work -- and we're very proud of the screenplay we wrote. We wrote a pretty darn good screenplay. And then turned it in and kind of forgot about it. We were doing something else and, later, Dobkin dropped out and Adam Sandler got involved and brought in his team to ... well ... to "Sandlerize" it. It's not what we wrote. It's a little bit what we wrote, structurally, and that's why we got screenplay credit on it. Because even though we changed it, they still maintained enough basic, bare-bones structure that Jim and I had put on it. Nor did Jim and I originate that project, we re-wrote someone else and we were very proud of out script. In fact, in a way I wish I had directed it, in retrospect, because it's not a bad comic premise. Our title for it was 'Flamers.' Ah, a double meaning. Yeah! Fun! But ... so it goes. That's why I got into directing, so I can just protect what I wrote. A lot of people still regard your best movie as 'Election.' A lot of people say that. Do you like hearing that? That movie was 12 years ago. Is there any sense of, "I'd like to think I've improved since then." Yeah ... and I'd still be capable of making 'Election.' I just service every story in the way that I think it needs to be serviced. And that one needed that very crisp ... it's just an unusual screenplay suggested by an unusual book. I will say it's the only film that I've made in which I don't feel is too long. And I think it really has a uniquely good rhythm. If you watch it, you can almost bob your head to it. There's a metronome to it that's just right. The metronome rhythm might change, but it keeps going. It has a big forward propulsion. And I like the multiple voiceover in it, that's one of the main reasons that I wanted to do it. Visually, it's made by a young guy who was in intoxicated by 'Casino.' So there's a roaming, restless visual style to that was very much inspired by 'Casino' -- a movie I still admire greatly. Does that mean that you think 'The Descendants' is too long? It's a little too long. It's OK. Don't you have the power to change that if you think it's too long? Yeah ... no. I'm aware of all of it. 'The Descendants,' for all of its languorous pace, is actually quite brisk. And if there's one thing about the film style of 'The Descendants' that I think is pretty good is its efficiency. And that's one of the things, also, that keeps it from being sentimental. It has a certain clinical, "All right, let's keep moving. Let's go." It doesn't milk anything too much. For the record, I don't think it's too long. Thank you. But 'Election' is really crisp. And it also has a cynicism and a bite, which, mercifully, so far, have not aged. The movie holds up. And high school movies have a way of becoming dated very quickly. Well, it's made by a director who the last thing in the world he wanted to do was make a high school movie. Yeah, that one is pretty good. And Reese Witherspoon and Matthew Broderick are so good in it. It was very nice to meet you. Very nice to meet you. All the best with [mimics the Mr. Moviefone voice] MOVIEFONE! I just saw Alexander Payne do the Moviefone voice. Yeah ... I bet you get that a lot. [Photo: Fox Searchlight] Follow Moviefone on Twitter Like Moviefone on Facebook You can contact Mike Ryan directly on Twitter

UTA to Move to New Beverly Hills Headquarters in 2012

UTA will move into its new Beverly Hills headquarters in late 2012, after finalizing its long-term lease for roughly 120,000 square feet at9336-9346 Civic Center Drive.our editor recommendsUTA Nears Deal to Move to New Beverly Hills Headquarters (Exclusive) The Hollywood Reporter first reported on Nov. 9 that the talent agency was closing a deal for a 15-year lease with landlord Tishman Speyer, aNY-based developer. UTA is currently headquartered at9560 Wilshire Blvd. The Civic Center Drive property is undergoing an extensive $30 million renovation; it was previously the headquarters ofHilton Hotels. UTA will be the sole tenant in the 9336 Civic Center Drive building and occupy part of the 9346 building. UTA will begin a "multi-million dollar interior and exterior build-out" of its offices there early next year, according to a press release issued Tuesday by the agency. Noted architectural and design firm Rottet Studio will build out the offices; the company'sRichard Riveire andLauren Rottet will lead the effort. UTA's new offices will include a 150-seat screening room and private outdoor space. The deal is a coup for the city of Beverly Hills, which has sought to retain both UTA and fellow talent agency WME since CAA and ICM decamped for Century City in the past decade. UTA will have a notable neighbor at the Civic Center Drive property: Playboy Enterprises Inc., which last week agreed to lease 45,000 square feet there. UTA COO Andrew Thau, Michael DeSantis of commercial real estate brokerage Cushman & Wakefield and attorney Andrew Friedman of Friedman & Associates represented the agency in the lease deal. Email: Daniel.Miller@THR.com Twitter: @DanielNMiller Related Topics UTA

VIDEO: Mel Gibson, Jamie Foxx and Garry Shandling Brainstorm a Tribute for Robert Downey Jr.

Funny or Die How do you pay tribute to Robert Downey Jr.?That's the question that has Mel Gibson, Jamie Foxx and Garry Shandling stumped in a roast video that played before Downey was honored with the American Cinematheque Award last month. As we learn, Gibson's only there for the cheese plate, Shandling's never seen Downey out of the Iron Man costume and Foxx ... well, he's still bitter about Tropic Thunder."He stole a part from brothers," he says. "F--- that! He does this now. If we don't nip it in the bud, next thing you know, they have him playing Martin Luther King: 'I have a dream that one day little white boys will grow up to be bigger white boys and take roles from all of the black people.'"Robert Downey Jr. to Hollywood: Forgive Mel GibsonIt turns out none of them really know Downey that well, except for Gibson, who once visited him when Downey was in prison. "But I was just trying to get good press," he says."That would be confusing ... I just wouldn't know who's in, who's out," Shandling notes.They all try to come up with excuses to get out of the event - until Shandling points out what they would miss out on: a Jodie Foster clip.Watch the video below. [Warning: Contains profane language.] The Brain Storm with Mel Gibson, Jamie Foxx & Garry Shandling from Mel Gibson

Why 'Immortals' Star Luke Evans Might Entitled to the Guinness Book of Records

In Immortals, Luke Evans plays Zeus, an "upgrade," he informs us, from his minor role because the Greek god's boy Apollo in 'Clash from the Leaders.' Like a more youthful, warmer (and scantily clad) Zeus, Evans might possibly not have an excellent line like Liam Neeson's "Release the kraken!" but he is doing reach literally crack the whip in Mount Olympus. 'Immortals' co-star Mickey Rourke sings his praises, saying, "A really great actor. He will possess a monster career." (Rourke potentially really wants to cast him in the movie about Welsh rugby player Gareth Thomas, but Evans, who'll next be observed in 'The Raven' opposite John Cusack, presently has his dance card full making 'The Hobbit' in Nz.) Have you have qualms about doing another epic mythology film? There is a small hesitation initially when i first was contacted about 'Immortals,' but which was soon quashed. You may already know if you have seen the film, there isn't one comparison to become attracted [between 'Immortals' and 'Clash from the Titans']. Maybe the main one, it's Greek mythology, but aside from that, they are two completely different films with two completely different tales. So not necessarily, no. There is a small worry, however I met Tarsem Singh, and Tarsem is definitely an amazing salesperson. He offered me the film so rapidly, I had been prepared to tear his arm on say yes. What did he state that got you so excited? He stated a great deal. The guy can talk. That's one factor you are able to say about Tarsem, he's a guy of lots of words, and that is great. He's a really fun guy to be with. It had been just his vision, his overall vision for that movie and the idea of the gods being youthful or at best searching youthful. That introduced challenging to my character. I am clearly a parent along with a king, to ensure that would be a interesting position that Tarsem desired to take, and incredibly intriguing. It's most likely the very first time a youthful guy has ever performed Zeus in modern history. We are more accustomed to seeing someone like Liam Neeson as Zeus in 'Clash from the Leaders,' using the lengthy beard. Yes, exactly and Laurence Olivier, the standard concept of that which you think about as Zeus and clearly we are breaking all individuals clichés within this movie. Tarsem's argument is, if you are a god and you've got all of the energy on the planet, why would you need to be old? Thinking about just stay youthful, in great condition, having the ability to fight should you required to? And That I thought, "I'm able to do this, I can tell that." And my charge only agreed to be directing the rest of the facets of Zeus, as being a king, being 1000's of years of age, and every one of individuals aspects which, being an actor would be a real challenge. The gods in 'Immortals' are fit, but they are less massively aficionado as you may expect. Is the fact that a part of Tarsem's vision, that they are more susceptible and capable of being wiped out? Well, Henry is at insane shape. The one thing concerning the gods is they have these immense forces and i believe which was something Tarsem desired to use, that they are like superheroes, they are able to fly to earth plus they can fight at immense speeds, there is that which was interesting. I do not think Tarsem was concerned about how big us being different, that which was interesting, was that after the gods arrived at earth, they are human sized, which in ways I believe being an audience member, you are able to relate far better to some "god" in inverted commas. Exist more challenges filming in three dimensional? Not necessarily. It's a bit reduced, I have tried it, I believe five occasions now. Is the fact that some type of record among modern stars? I'm not sure. [Laughs] Maybe I ought to call the Guinness Book of World Records and inquire. It's a little bit reduced. But nothing, in the acting perspective, it does not really change much. As well as on large movies, such as the one I am on now ['The Hobbit'] understandably, there's lots of prep and establishing and such things as that therefore it is area of the package to be on the movie set, everything doesn't move extremely fast. So three dimensional slows things lower. Although not much, not basically. [See our earlier interview where Evans discusses learning archery for his role as Bard the Bowman.] So you are learned to fence for 'Three Musketeers' and just how to utilize a bow and arrow for 'The Hobbit.' You are becoming quite deadly. Ok last one, I possibly could look for a weapon here. [Looks round the Four Seasons accommodation.] I am very handy using the sword or perhaps a chain in, as with 'Immortals.' I get a large old chain and employ that like a weapon in a single scene. Talking about 'The Three Musketeers,' would you accept Milla Jovovich that Summit did not publicize the film enough? I'd an incredible time on that film. I acquired on the bus working in london and my face was along the side of that a week ago, and so i was pleased with that. I do not discuss other individuals opinion. I had been happy and that i had a lot of fun onto it. Summit is excellent. You are making these huge movies, do you lengthy to perform a little indie? I actually do little indies constantly! I have got 'No One Lives' approaching the coming year. I play a psychopath for the reason that. [Laughs] I am mixing up, keeping it fresh for that viewer as well as for myself. Used to do 'The Raven,' also, which got acquired by Relativity. I play a detective in Baltimore, 1849, therefore it is a fictionalized account from the last 5 days of Edgar Allan Poe's existence. And That I play a detective who uses Poe to trap a killer who's inspired by his works. It appears great. A clip is excellent, right? I had been so happy with it, I believe they have done a very congrats. It's the essence of 'Seven,' combined with 'Sherlock Holmes,'mixed with 'Sleepy Hollow.' That's the way i felt after i viewed it. We shot shot it in Eastern Europe, in Serbia and Budapest and a few of the locations we done were just incredible. I believe Baltimore is going to be proud. 'Immortals' is within theaters Friday, 'The Raven' arrives March 9, 2012 and 'The Hobbit: An Unpredicted Journey' opens in 12 ,. 2012. [Photo: Relativity] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

Caption This Photo of Jean-Claude Van Damme Playing With His Gun On the Expendables 2 Set

How does the machismo-filled cast of Expendables 2 entertain themselves in between takes on the Simon West-directed blockbuster sequel? Sylvester Stallone, Arnold Schwarzenegger and Bruce Willis pose for photos in abandoned airplane hangars. Chuck Norris updates his Facebook account with shoddy tourist pics in Bulgaria and Jean-Claude Van Damme, it seems, plays with toy guns. So maybe pointing a gun at one’s own head isn’t the most tasteful photo opportunity — especially considering that an Expendables 2 explosion scene last month tragically killed one stunt performer while critically injuring another. But maybe he was goofing around on set. And it’s not like Expendables 2 would endorse that photo and post it on the movie’s official Facebook page! Oh, wait. Luckily for us, we know how to turn a particularly ill-advised picture into a rousing round of Caption This! Pens at the ready? Let’s see your best captions. [via Movieweb]

Helen McCrory Joins Micro-allotted U.K. Project 'Flying Blind'

LONDON -- Helen McCrory, recently introduced incorporated within the cast for your approaching Jason Bourne film Skyfall, has grew to become an associate from the cast of Flying Blind, a microbudget movie shooting in Bristol, England. McCrory will star in what is the third film to go in production backed with the U.K. regional funding agency Free Airline Screen's iFeatures funding pool. McCrory stars alongside Kenneth Cranham, Najib Oudghiri (Rendition) and Tristan Gemmill inside the project that marks the directorial feature debut of Polish helmer Kasia Klimkiewicz. Naomi Wallace, Bruce McLeod and Bristol-based author Caroline Harrington composed the script, billed just like a publish 9/11 love story. It particulars the story from the older lady who's utilized by a military manufacturer who embarks around the passionate affair getting a French Algerian student only to uncover he is probably not what he seems. iFeatures executive producer Chris Moll mentioned: "This shoot features a real worldwide flavour, and demonstrates our persistence for forging collaborations between emerging talent from different nations. I anticipate seeing they create their mark using this microbudget, with a really exciting multinational cast." Related Subjects Worldwide

Camelot, Showbox ink three-pic deal

Camelot Entertainment Group and Camelot Distribution Group have closed an offer with UK's Showbox Media Group Limited for any trio of game titles -- "A Warrior's Heart," "Attack from the Herbals" and "Norman."Camelot introduced the offer Sunday in the American Film Market. "Warrior" stars Ashley Greene and Kellan Lutz and follows the storyline of the troubled teen who turns to his new love interest to locate his way."Herbals" is dependant on experimental Nazi tea dish washing around the shores of Scotland, turning individuals who drink it into kill crazed zombies.Family drama "Norman" stars Emily VanCamp and Serta Byrd with original music by Andrew Bird."Warrior" seemed to be offered in Latin America to CDC and Bald eagle Pictures bought "Never Sleep Again" for Australia. Contact Dork McNary at dork.mcnary@variety.com

Counting Lower to Kiefer Sutherland's Touch: The 6 Ways It Could Help help remind You of 24!

David Mazouz and Kiefer Sutherland Still taking apart a clip for Fox's Touch? Frustrated you can't begin a real countdown for the return of Kiefer Sutherland because the show still doesn't include an airdate? You aren't on your own. Fox makes Kiefer Sutherland's return to primetime official The arrival drama from Heroes boss Tim Kring stars 24's Sutherland doing what he's doing best: making certain the earth doesn't self-destruct. Browsing for Jack Bauer is Touch's Martin Bohm, widower and father with a mute boy, Mike. The problem? Mike provides hiding for that uncanny capacity for connecting designs and uncover this really is behind apparently unrelated occasions happening around the world.... Basically, they can predict when bad stuff goes lower, among other activities, and also the father Martin's the one which will have to deal. (Get ready for emotional Kiefer, world!) Just for kicks - and also, since we still miss 24 - let's count the techniques Touch, without meaning to, continues its legacy, while using the trailer as our guide: Problematic kids: Sure, Kim Bauer got kidnapped. (Several occasions.) Sure, she dropped from soccer practice becoming an au pair, after which got caught in the cougar trap. But she could scream and call her father for help. Martin's boy Mike doesn't talk whatsoever. When Mike will receive a hankering to climb cell towers (which look really tall because trailer!) at 3:18 p.m. every single day without interacting why... well, it seems Kiefer's TV offspring are forever cursed. "Dammit!": Sources say Martin will release one inch the initial episode of Touch. That's what these kids - as well as the fate around the world - can do with a guy. Suicide bombers: Yes, seriously. There's one - a young one - inside the pilot for Touch. Whether Martin might be the man to defuse the issue... but cure will, right? Cell phones: Within the looks of things, they'll command a starring role in touch, handy for preventing problems foreseen by Mike. Divorce attorney atlanta, they'll be much like Jack Bauer's supermobiles, which clicked up signals within the bowels in the finest terrorist hangouts, instantly sent codes, posted maps and many types of other kinds of existence-saving, key-decrypting apple. Oh, would it not were our apple apple iphones came fitted with 1,000,000,000G technology. "NY": Just like 24's eighth season, La stands looking for the The The Big Apple in touch too! A ticking clock: Martin's racing to avoid these occasions from happening (to be able to ensure they happen correctly). He's racing to determine which his boy is trying to see him. He's racing to solve our planet's mysteries. Kiefer will not ever stop running. Never! Touch will premiere on Fox next spring. Here is a clip for that re-viewing pleasure:

J. Edgar

Leonardo DiCaprio plays J. Edgar Hoover in Clint Eastwoods biographical drama. A Warner Bros. release and presentation of the Imagine Entertainment, Malpaso production. Created by John Grazer, Robert Lorenz. Executive producers, Tim Moore, Erica Huggins. Directed by Clint Eastwood. Script, Dustin Lance Black.J. Edgar Hoover - Leonardo DiCaprio Helen Gandy - Naomi W Clyde Tolson - Armie Hammer Charles Lindbergh - Josh Lucas Annie Hoover - Judi DenchJ. Edgar Hoover's mystique is based on the truth that as they stored meticulous files with compromising particulars on a number of America's most effective figures, nobody understood the man's own secrets. Therefore, any movie where the longtime FBI honcho features because the central character must supply some understanding of what made him tick, or are afflicted by the matter that the Bureau's exploits were much more interesting compared to bureaucrat who went it -- a dilemma "J. Edgar" never increases above. With Leonardo DiCaprio getting empathy towards the questionable Washington energy-monger, Clint Eastwood's old-school biopic must do solid midrange business. In 1993, Anthony Summer season released a tawdry expose entitled "Official and Private, the key Existence of J. Edgar Hoover," which broadcast Susan Rosenstiel's declare that she'd observed Hoover, a long term bachelor who had been rarely seen without reliable deputy Clyde Tolson, putting on a dress wear in a gay orgy in NY. Though never corroborated, the claim stuck, and also the legacy of the much-feared public figure -- who offered as FBI director under eight presidents, across 48 many through probably the most trying cases from the twentieth century -- has become centered by associations with mix-dressing. When the presumptions about his sex existence are true, that will make "J. Edgar" the storyline from the greatest-ranking homosexual in American history, created with a major Hollywood studio and directed by among the industry's most venerable company directors -- hardly minor within an industry that would go to great measures to obfuscate the sexuality of their own stars. Whilst not exactly coy, Eastwood's typically styled take a look at Hoover's existence requires a very long time to reach questions from the character's proclivities. If this does make it happen, however, this new dimension from the character so enlivens what is a mostly dry portrayal of 1 man's campaign to reform police force it becomes the pic's focus. In keeping with Eastwood's understated character, "J. Edgar" provides the "stylish" management of such potentially salacious subject material, though a far more outre Oliver Stone-like approach may have designed for a more lively film. Except for a couple of profanities (enough to land the pic a crowd-restricting R rating) along with a lone homoerotic wrestling scene so tame that Ken Russell's "Women for each otherInch feels as though an X in comparison, the film could pass for something Warners might have launched within an earlier era -- earlier even than most of the occasions portrayed onscreen, as recommended by Tom Stern's cinematography, desaturated nearly to black-and-whitened. Eastwood's restraint is applicable not only to the little one-mitts depiction of methods Hoover slyly altered politicos and press, together with a loathsome make an effort to blackmail Martin Luther King Junior. into decreasing the Nobel Peace Prize, but additionally to his oddly nonjudgmental method of Hoover's sexual identity, showing him like a guy too Puritanical to pursue closeness with someone of either gender. Because he did with "Milk," film writer Dustin Lance Black follows paper-the-legend philosophy, building as to the might have been the best tragic love story between two males: Johnny and Clyde (as Truman Capote named Hoover and Tolson), buddies for that better a part of five decades who didn't have the opportunity to express their affection -- due to Hoover's insistence that FBI employees meet the most stringent code of conduct (he wouldn't even permit them to drink coffee at work). The outlet reel determines both scope from the story, which ranges from Hoover's 20s to his final days managing the FBI at 77, and DiCaprio's amazing capability to take part in the character at any time along that timeline. Assisted with a convincing mixture of facial home appliances, makeup and hairpieces, the thesp draws auds past that gimmick and in to the character within dependent on a couple of moments. There's a natural kindliness to DiCaprio which makes for any more pleasant protagonist than Hoover because the tempestuous monster a lot of biographers describe, that is great news for that film's commercial prospects but apparently at odds with reality. Surely this cannot be the glory hound who worked with with Sen. Frederick McCarthy on his anti-communist witch search and known as King "probably the most well known liar in the united states,Inch nor exactly the same FBI chief charged with racism (the Bureau antagonized civil-privileges leaders and employed couple of shades of black), homophobia (gays were ignored from service) and sexism (women were permitted for everyone as secretaries and assistants, but never agents). Instead of seriously engaging with these common accusations, Black's script skips backwards and forwards through Hoover's CV, alternating public grandstanding with invented experience into his private existence. Annie Hoover (Judi Dench) puts enormous treatments for her son's personality, telling him, "I'd favour a defunct boy than the usual daffodil for any boy," within the film's most chilling scene. Tolson (Armie Hammer), whose prissiness makes up about the film's scant laughs, also surfaces early, hiding behind the frosted-clear glass door for an adjoining office while Hoover dictates a self-aggrandizing book. Thinking about how critical every other character's perspective may be, permitting Hoover to narrate their own story may come as a generous gift from Black. Hoover's voice-over gives form to some story that begins out being an institutionally approved version of methods the FBI found be, punctuated once in awhile with a high-profile arrest or newfangled forensic development (an analysis in to the kidnapping of Charles Lindbergh's boy supplies the kind of procedural intrigue which comes easily to Eastwood). Because the pic progresses, however, Hoover's words grow progressively defensive, and also the episodes drift into much more personal territory. Because you can't put a face around the love curiosity about a workaholic's story, Black must manufacture romance around the margins. Within the first act, Hoover briefly courts Helen Gandy (Naomi W), a workplace girl who declines his marriage proposal on their own third date, but concurs being his secretary. A short while later, Hoover meets Tolson inside a scene staged to suggest love in the beginning sight. As written, Tolson's character is clearly gay, but Eastwood appears noncommittal about Hoover. Certainly you will find clues in nearly every factor of the development, from Deborah Hopper's ever-dapper wardrobe towards the thoroughly hired sets overseen by James Murakami and decorated by Gary Fettis. At some point, auds catch a peek at the entry stairwell to Hoover's home, in which a presented portrait of his mother dangles alone. What's missing out of this picture? Why, the famous nude photo of Lana Turner that hung within the real-existence Hoover's hallway.Camera (Technicolor/B&W, Panavision widescreen), Tom Stern editors, Joel Cox, Gary D. Roach music, Eastwood production designer, James Murakami supervisory art director, Patrick M. Sullivan art director, Greg Berry set decorator, Gary Fettis costume designer, Deborah Hopper seem (Dolby Digital/SDDS/Datasat), Jose Antonio Garcia supervisory seem editors, Alan Robert Murray re-recording mixers, John Reitz, Gregg Rudloff effects supervisor, Steven Riley visual effects supervisor, Michael Owens visual effects, Method Galleries Vancouver, Lola Visual Effects stunt coordinator, Buddy Van Horn assistant director, David M. Bernstein casting, Fiona Weir. Examined at Warner Bros. Galleries, Burbank, November. 2, 2011. (In AFI Film Festival -- opener.) MPAA Rating: R. Running time: 136 MIN.With: Jeffrey Donovan, Miles Fisher, Damon Herriman, Ary Katz, Dermot Mulroney, Geoff Pierson, Michael Rady, Stephen Root, Erectile dysfunction Westwick. Contact Peter Debruge at peter.debruge@variety.com