Art galleries fret over online crack in cable window

The majors are actually worrying for just about any very very long time about flat domestic box office and quickly decreasing DVD sales, there's however a far more recent portion of large concern: the gold gold coin within the lucrative fundamental cable window. Elevated online exposure for film product -- via Netflix, iTunes, Vudu as well as the proprietary site of premium cablers, for instance Cinemax Go -- could trigger fundamental nets like Foreign exchange, TNT, Comedy Central while others to lessen on purchases. And huge levels of cash is at risk.Time Warner corporate chief Jeffrey Bewkes states his conglom's TNT and also the best spinner's would reduce purchases of some theatricals, though features would still remain a pressure. "The big movie packages, particularly really pricey, giant movies, certainly are a little weakened since they are getting seen lots of places," Bewkes told a Sept. 22 investor conference. He added the organization will fine-tune the actual way it acquires films, focusing much more about "certain evergreen game game titles and genres that are essentially inside the sweet place."Even such mildly discouraging words have rarely been heard inside the 20 years that theatricals increased being ever-growing cornerstones inside the agendas of several fundamental systems. Bewkes' surveys are actually important because his customers are both a buyer and seller of movies. For your congloms' studio arms, revenue from cable has extended been vital that you their overall costs -- with premium subscription services and ad-supported fundamental channels both playing a substantial role. Every film that's part of a pay cable output deal produces a pile of cash inside the first premium window. Despite the fact that affiliate affiliate payouts may be reduced for just about any film's later, fundamental cable window, fundamental cable systems really cut costs overall dollars for film product in comparison towards the premium nets, because you will discover a lot more fundamental channels due to so much more slots to program. Plus, fundamental cable airs the whole gamut of movies, different from recent high-budget blockbusters completely to films that have finished their first-cycle telecasts -- so-referred to as library or catalog game game titles -- which appear a smaller amount frequently on premium services. According to SNL Kagan, fundamental cable channels inside the U.S. will fork over greater than $2.8 billion certification theatricals this season, in contrast while using just-under $2 billion spent by premium pay channels for theatricals.Most of the movie trading is specific in the dozen fundamental channels for instance Foreign exchange, Syfy, The very best spinner's, Turner Classic Movies and Comedy Central. These heavy clients of movies are essential towards the overall costs in the fundamental window. (Theatrical slots have even came out on fundamental systems for instance Animal Planet as well as the Weather Funnel lately, but people devoted movie nights didn't stick.) Addressing Bewkes' statement, Deana Myers, senior analyst at SNL Kagan Research, states, "If an individual major buying fundamental cable network states it won't acquire as much films, which will have an impact. Prices may come lower for individuals who've less customers in the marketplace. It's dependent if others a part of to buy films."According to just one way of thinking, however theatricals won't suffer much decrease in fundamental cable, his or her star energy make sure they are easy to advertise and repeat. Inside the multichannel cable dial, large stars and glossy production values prompt America's nomadic funnel audiences to pause. Better yet -- and perhaps flying when faced with the idea of online viewing devaluing a film -- familiarity possesses its own cache."Fundamental cable systems deliver reliable ratings by way of quality brand-centric content that people prefer to watch over and over," states Ken Werner, leader of Warner Bros. domestic television distribution. "It's like trading time by getting a classic friend."Despite the fact that it might be contended that theatricals progressively have a back chair due to original cable series gobbling up cycles and program budgets, first-run cable series remain an pricey proposition, especially if they flop. However, movies are frequently licensed after their theatrical premiere, when they are known amounts, with expected prices connected with box office, and are usually less costly than original fare and offer high-quality fodder to fill cablers' huge 24-hour agendas.Jim Packer, Lionsgate leader of worldwide TV and digital distribution, adds another positive: "Films not only rate well, and certainly will give you each network getting an advertising and marketing vehicle for originals." Still, if online viewing adversely impacts ratings for just about any film on cable, the finish result could hit fundamental cablers harder in comparison to premium shops, simply due to their different business models. The most effective-grossing theatricals command comparable cost from premium pay shops like Cinemax and Starz simply because they do from fundamental, which nowadays is all about $25 million per title. But fundamental cablers are partly ad-supported, -- rather than the ad-free, subscription premium systems -- meaning any reduction in ratings would create a similar reduction in revenue.And fundamental cablers buy films in different ways the premium channels do. Premium nets secure most the movies from the major studio for multiple years in output deals, undertaking to a lot of films sight unseen. But fundamental systems generally purchase merely a couple of at any time, making their deals only after films attain the theatrical window in addition to their box office is well known. Possibly some rudimentary cablers may decide to consider online viewing trends for specific movies too. Contact the number newsroom at news@variety.com

AMC Renews 'The Walking Dead' for Season 3

Thanks to AMC"The Walking Dead" AMC's zombie drama The Walking Dead provides extensive existence inside it. Hot around the heels of their record-breaking second season premiere, AMC has restored the series for any third season. PHOTOS: Behind the curtain of 'The Walking Dead' Season Two A week ago's 90-minute Season 2 premiere shattered fundamental-cable rankings in a set of key census, drawing 4.8 million audiences within the marketer-coveted 18-49 metric in addition to 4.two million grown ups 25-54 on the way to collecting 7.3 million total audiences. "Today we're very happy to announce the 'dead' shalllive once we proudlyrenew The Walking Dead fora third season on AMC and, globally, with this terrific partners at Fox Worldwide Channels," AMC leader Charlie Collier stated Tuesday."We're grateful for everyone's contribution before and behind your camera once we keep The Walking Dead a distinctive television experience. And, we're so proud because it is constantly on the set viewership records all over the world.Inch Modified from Robert Kirkman's lengthy-running comic series by former showrunner Frank Darabont, Walking Dead stars Andrew Lincoln subsequently as Ron Grimes, the best choice of the rag-tag number of children of the inexplicable zombie apocalypse. Glen Mazzara can serve as showrunner, with Kirkman, Gale Anne Hurd, David Alpert and Darabont becoming executive producers. Emmy-winning effects artist Greg Nicotero co-produces. STORY: 'The Walking Dead' Season 2 Premiere: (Spoiler) Got Shot, What's Next? The series' premiere on Halloween 2010 shipped 5.3 million audiences along with a 2.7 rating in grown ups 18-49. The six-episode first season averaged 3.5 million within the demo and calculating 5.two million total audiences. The 13-episode second months are being split in 2, going for a break for that holidays red carpet payments and coming back February. 12. STORY: 'The Walking Dead': What Really Happened to Fired Showrunner Frank Darabont The series has additionally created a publish-show recap series, Speaking Dead, located by Nerdist's Chris Hardwick, in addition to a game and type of figures. Fox Worldwide Channels opened Walking Dead this weekends across systems in Europe, Asia, Latin America, Africa and also the Middle East where rankings broke pay TV rankings records worldwide. A lot more than ten million audiences in 122 nations updated directly into watch the growing season 2 premiere. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit RELATED: 'The Walking Dead': Glen Mazzara on Frank Darabont and the Fears because the Drama's New Showrunner AMC The Walking Dead

ABC Buys Tracy McMillans Why You Aren't Married Comedy With Penalty

EXCLUSIVE: From the hit blog publish to some book to some TV series. Inside a competitive situation, ABC has nabbed Tracy McMillan’s single-camera comedy The Reason Why You’re Not Married having a script commitment plus penalty. DreamWorks TV, which developed the project, will produce it with ABC Galleries. McMillan, whose series credits include Mad Males and rge DreamWorks TV-created U . s . States Of Tara, will write The Reason Why You’re Not Married, an ensemble comedy that explores the present condition of contemporary American love — particularly the dynamic between your an incredible number of attractive chicks between the age range of 25 and 45 who wish to be married and also the males who apparently won't invest in them. The project, referred to as “a extremely honest take a look at love,” comes from McMillan’s greatly popular Feb blog publish entitled The Reason Why You’re Not Married, which went viral and grew to become the 2nd most read story on Huffington Publish with a few 2.9 million sights. The publish released a putting in a bid war among book marketers, eventually landing at Ballantine/Random House, that will release The Reason Why You’re Not Married…Yet: How You Can Stop Acting Just like a Bitch And Begin Getting Betrothed on May 29 the coming year. A TV project in line with the blog publish and also the book adopted, also it too came interest from multiple systems before landing at ABC. WME-repped McMillan, the daughter of the pimp along with a prostitute, was raised within the promote-care system. She investigated the result of her upbringing on her behalf adult associations, including 3 unsuccessful partnerships, in her own first book, memoir I Really Like We’m Departing You Anyway.

'Paper Trail' grows with SKE

MadsenSidney Kimmel Entertainment will finance and produce the thriller "Paper Trail," with Danish director Ole Christian Madsen set to helm. Madsen most recently directed the comedy "Superclasico," Denmark's official entry for this year's Academy Awards foreign-language competition, and also directed "Flame and Citron" and "Prague." "Paper Trail" will mark Madsen's first U.S. production and his first English-language film. Sidney Kimmel will produce with Mark Williams of Zero Gravity Management and SKE prexy of production Matt Berenson. SKE president Jim Tauber and Code Entertainment's Rich Freeman exec produce. Screenplay by Louis Rosenberg and Joe Rosenbaum centers on an ambitious assistant editor for a top publisher who finds a manuscript from prison claiming to tell the true story behind a major unsolved diamond heist, which he sees as his ticket to the top. He and his girlfriend soon find themselves pawns in a criminal mastermind's much larger, more dangerous game. The filmmakers are targeting a summer start and are currently out to talent. SKE recently wrapped production of "The Place Beyond the Pines," starring Ryan Gosling and Bradley Cooper and directed by Derek Cinefrance. It produced "One for the Money," starring Katherine Heigl, in association with Lakeshore Entertainment, with Lionsgate releasing in Janaury. Madsen is repped by CAA and Code Management. Rosenberg and Rosenbaum are repped by Paradigm and Zero Gravity Management. Contact Dave McNary at dave.mcnary@variety.com

The Key Circle Exclusive: Hunter's Stepfanie Kramer to experience Creepy Charles' Mother

Stepfanie Kramer Ghouls be careful: Charles Meade's mother is visiting town! Stepfanie Kramer has signed on to have an episode from the Secret Circle, TVGuide.com has learned solely. The 55-year-old actress, most widely known on her role as Dee Dee McCall on NBC's Hunter, will portray Kate Meade, the equally complicated and strong mother of Charles (Gale Harold) and grandmother to Diana (Shelley Hennig). The Key Circle boss dissects Nick's dying and also the coven's possible alternative Kate, who'll first come in Episode 10, is referred to because the type of lady who are able to warm you having a smile but freeze you having a single glare, that is unfortunate for Charles, who'll get caught in the center of Beginning (Natasha Henstridge) and Kate's hate for each other. Maybe Charles learned his communication skills from mother? The Key Circle airs Thursdays at 9/8c around the CW.

Elizabeth Olsen Horror Film 'Silent House' Opening March 9

Open Road Films and Liddell Entertainment have set March 9 since the national release date for your horror thriller Quiet House, starring Elizabeth Olsen. The March date could develop the honours attention that Olsen is getting in on her behalf performance in Fox Searchlight's Martha Marcy May Marlene, that she's acquired a Gotham Award nomination as breakthrough actor of year. PHOTOS: Hollywood's New Leading Ladies Inside the movie, directed with the Open Water filmmaking team of Chris Kentis and Laura Lau, Olsen plays a young lady locked in her family's secluded lakeside home. "Lizzie is phenomenal. She committed herself completely for the role and unusual challenges within our production. She's so gifted and contains such great instincts, she amazed us with how little she needed and the way much she gave," Lau and Kentis mentioned. PHOTOS: Elizabeth Olsen, Jessica Chastain Pose for THR Produced by Agnes Mentre ofTazora Films, the film is certainly an Elle Driver presentation, with Adeline Fontan Tessaur, Avoi Diederix, George Paaswel and Silverwood Films' Lynette Howell, becoming executive producers. Lau's script required it's origin in the Uruguayan film La Casa Muda, put together by Oscar Estevez. Related Subjects Martha Marcy May Marlene Elizabeth Olsen

'Swell Season' Exclusive Clip: 'Once' More

Artists Glen Hansard and Markta Irglov's incredible talent and chemistry was impossible to disregard inside their fantastic, Oscar-winning "Once." No matter the title from the 2006 musical film, Hansard and Irglova's presence inside the public eye wasn't single-time affair, fortunately. The Swell Season duo make their triumphant large-screen return in the new documentary titled, correctly enough, "The Swell Season." It's already playing in theaters in La, plus it hits limited release in NY City today (October 21), getting a wider release to follow along with together with. If you're interested in the background music artists, this doc can be a can't miss. Have a look in a unique clip within the film below.

The X Factor Discloses Top 17 Participants

First Released: October 19, 2011 1:30 PM EDT Credit: FOX Caption Paula Abdul and Simon Cowell play in the auditions for that X FactorLOS ANGELES, Calif. -- The X Factor top 16 was revealed on Tuesday evening and rapidly grew to become a high 17 after one cut triggered Simon Cowell to proclaim, I dispise this task sometimes. On Tuesdays show, after Simon cut Melanie Amaro, he remained by having an uneasy feeling. I believe Ive designed a massive mistake, I actually do. An hour or so ago I felt fine, in hindsight, I'm able to feel it during my stomach I designed a large mistake, he stated after delivering the 19-year-old Sunrise, Fla., singer home. The judge was quick to treat his decision and jumped on the plane to provide what's promising to Melanie. I needed to come here and let you know something, I needed to personally come here and apologize for your family, for that mistake I made, this originates from me and also the other three idol judges would request you to definitely return in to the competition. We would like you back around the concert events, Simon told the singer and her family. Yes, she stated overcome with emotion. With Melanie in your competition, The X Factors Top 17 continues to be revealed. The Women - mentored by Simon Cowell Simone Fight Came Ryniewicz Rachel Crow Tiah Tolliver Melanie Amaro The Boys - mentored by Antonio L.A. Reid John Bradley (also known as Astro) Phillip Lomax Marcus Canty Chris Rene Groups - mentored by Paula Abdul InTENsity Lakoda Rayne The Stereo system Hogzz The Maker Boys Over 30 - mentored by Nicole Scherzinger Leroy Bell Josh Krajcik Dexter Haygood Stacy Francis The X Factor returns on Tuesday October 25 on FOX. Copyright 2011 by NBC Universal, Corporation. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Dancing with the Stars Episode Recap: Monday, Oct. 17, 2011

Andrew Lincoln [Warning: The following story contains spoilers from the Season 2 premiere of The Walking Dead. Read at your own risk.] "I hear we're getting shot," says an actress, smiling behind a mask of rotted teeth. "Awesome!" replies a bloody actor with an enthusiasm that's, ironically, everywhere on The Walking Dead set - from undead extras to lead actors - even after an in-house summer shake-up. "It's jam-packed, character-wise and action-wise," says Andrew Lincoln, as electrified by the world of hungry corpses as his character, Rick, is terrorized by them. Deeper, darker and (at 13 episodes) more than twice as long as last year, Season 2 of the record-breaking AMC drama questions the cost of survival, and how much humanity its characters can salvage. Executive producer Robert Kirkman, author of the original comic book, promises "gut-wrenching drama." And, of course, lots of guts, too. This season's opener started with a shock - young Sophia got lost in the zombie-filled woods - and ended with a bang, as Rick's young son, Carl, was accidentally shot. "They're the hope of the future," says Steven Yeun (Glenn). "If the kids are gone, what's the point?" Not everyone shares this concern. "Some just want to keep moving, others are desperate to find Sophia, and everyone has their own agenda," says Melissa McBride, who plays Carol, Sophia's mother. Adds Kirkman, "It's interesting how quickly a few move to self-preservation. It'll shock you who goes there, that 'we need to make sacrifices' mode." That philosophical split will cause tension between best friends Rick and Shane (Jon Bernthal). "Shane figures out what it takes to survive: a lack of empathy and emotion," says Bernthal, whereas Rick tries to hold onto his humanity - to a point. "Not that Rick's gone to the dark side," says Lincoln, "but that's the question: Can we survive without becoming monsters? And everyone's arguments are sound. One week you're going, 'Shane is a psycho!' and the next you're like, 'But he's right!'" Caught between the two men is Lori (Sarah Wayne Callies), Rick's wife - and Shane's ex-lover. "Every time Rick says, 'We have to be human,' Lori hears that," says Callies, "but every time Shane says, 'Guys, it's math. It's what we need to do to keep Carl alive,' that makes sense, too." It's a dynamic, Kirkman says, that'll make it even harder to keep Lori and Shane's Season 1 affair secret: "Carl's shooting brings them into new areas, puts a lot of strain on Lori and Shane, and brings up some dark stuff they've been keeping under wraps, so to speak." Could Lori's condition, like her comic-book counterpart, become even more delicate this season? (Spoiler alert: The character was revealed to be pregnant in the comic book.) Callies will only say Lori's focus is Sophia and Carl, but adds vaguely, "Later, she may have some decisions about taking on new responsibilities." What else can we expect this season? Dr. Jenner's secret, whispered to Rick in the final moments of last year's finale, "will be revealed," says exec producer Gale Anne Hurd. Andrea (Laurie Holden), the most broken survivor after her sister's death, will morph into a more powerful player. "I've been off with the boys - learning to shoot, embracing my inner tomboy," says Holden. And Glenn makes a connection with a new character, Maggie Green (Lauren Cohan). "It gives him someone to live for," says Yeun. For more on The Walking Dead, pick up this week's Halloween preview issue of TV Guide Magazine, on newsstands Thursday, October 20! Subscribe to TV Guide Magazine now!

'Beyond Thrilled': My Week With Marilyn Director Simon Curtis On His Auspicious NYFF Debut

The world premiere of your first feature film — in the hypercritical climes of the NY Film Festival, no less — would be nerve-wracking for any director. But Simon Curtis isn’t any director. He’s a BAFTA- and Emmy-nominated television and stage veteran who’s worked with a who’s who of British acting royalty, a noteworthy group of whom appear in Curtis’s feature debut My Week With Marilyn. Of course, Kenneth Branagh, Judi Dench and Derek Jacobi (along with younger stars Eddie Redmayne and Dominic Cooper) all orbit the staggering lead performance of Michelle Williams as Marilyn Monroe during the troubled making of The Prince and the Showgirl. Movieline caught up with Curtis today to take the temperature of both his My Week With Marilyn experience and his NYFF afterglow. How are you feeling now having your big, buzzy, NY Film Festival world premiere out of the way? I was beyond thrilled with the response in the room — all three screenings yesterday. We’ll see how we get on. But I’m very proud of the film; it feels like a crowd-pleaser. That’s my dream. It’s full of very complicated, sort of upsetting things, but it’s very, very funny, too. Or I always thought so, and it seems the audience did, too. So I was thrilled to hear that big NY audience — that big cinema — laughing. I was really surprised to hear you say yesterday that this was your first film. I know some of your background — the stage and TV, of course, but I would have sworn you’d made a feature previously. Yeah. But there’s “TV,” and there’s TV, and I’ve been very lucky. Some of those BBC things… I don’t know if you saw Cranford, for example. In terms of the cast, I don’t know where the difference is. Frankly, there’s more TV than good films at the moment. [Laughs] But anyway. Yeah, this is my first film. Why did you want to do this as your big-screen debut? I fell in love with the material. I feel in love with the two diaries. Along the way, as we’ve been developing this, I’ve spoken to people about other movies, and they nearly happened and all that. But I decided to hold on for the film that I truly believed in — the film that I cherished. I’ve only thought about this in recent conversations, but it has so many of the themes in this film that are the themes I live my life by. I’m married to an American actress [Elizabeth McGovern] who’s come to live in England. Americans can be Anglophiles; I don’t know what the word is for an English person who loves America, but I’ve always loved America. The idea of celebrity when it starts to go away, as expressed by Olivier and Vivian [Leigh] in this film. These are the themes I obsess over that happen to be in this film. I didn’t choose it for that reason, but in retrospect, that’s why I was drawn to it, perhaps. And also, as a young man wanting to get into the profession, I identify very much with Colin’s voyage into the film. Considering that there were two books, and considering the richness of the material and the characterizations, did it ever occur to you to maybe adapt this as a miniseries or longer movie for TV? No. I always wanted to make this as a film. One of the things that makes this film work is a bona fide movie star playing Marilyn. Michelle is a genius, I think, but not only is she a genius, she’s at the exact right moment of her life to play Marilyn, age 30, in 1956. It’s what I dreamt of: the right person to do it, you know? Well, yes, and I’d agree that Michelle is something of a genius. But do you really think she’s a “bona fide movie star”? Wouldn’t that work against playing another, actual bona fide movie star? You know more about that than me, but for me, she is. Basically, instead of saying “bona fide movie star,” we can just say she is absolutely the right person to play this character now. She’s the right age; there’s so much excitement and interest in her. Also, she’s a director’s dream. She’s such a hard worker, and she sets such high standards for herself. But she also, fantastically for this very complicated character — let alone the risk of playing someone so famous — she works equally hard on the internal character as she does on the external. And of course part of the film is the culture clash between the external, Olivier style of acting, and the internal, Method style. But Michelle does both. Working her way toward the start of the shoot, she was working equally on the body language. That dance that Marilyn does in The Prince and the Showgirl was a way into learning how Marilyn moved — not just in that dance, but in life as well. But then she’d be working on all the internal stuff. And it’s a very particular moment in Marilyn’s life. We always said it wasn’t a biopic; it was a moment in time. And at this time, when she arrives in England, she is now married to the great intellectual who she thought would rescue her from her life and give her intellectual and artistic credibility. She was coming to work with the great Olivier — who, again, she thought would give her credibility. And also, she was way ahead of her time with Milton Greene in setting up Marilyn Monroe Productions to produce her own movies. When she arrived in England, it was like this phenomenal moment that could all have gone a different way. And in some ways, the story of our film — the making of The Prince and the Showgirl — is how all those dreams collapsed. When you have such concrete primary sources as the diaries and The Prince and the Showgirl — and you clearly want to treat each with a certain verisimilitude — how did you go about making sure that My Week With Marilyn is its own thing? Is it just naturally so? Winding back, I was very keen to recreate The Prince and the Showgirl as accurately as possible. But Michelle and I talked about it a lot — about how there’s The Prince and the Showgirl, and there’s also the press conferences and little snippets of Marilyn, but there’s no footage, obviously, of her in private. So that was a world we could make our own. You know what I mean? The casting in any film makes a difference, but in this in particular, there’s something about Branagh’s Olivier that is unique to our film. Whereas another Olivier would have been a different kettle of fish. Another Colin Clark would have been a different thing. Eddie has a particular flavor, doesn’t he? Several attributes — he the authentic old Etonian playing an old Etonian. It’s that sort of thing. You’re also directing Branagh directing his own character and Marilyn on a film set within your set. How do you keep control as these layers compound? It’s very complicated, some of those scenes. I found it very hard working out where Marilyn would do five or even six takes of a line. But the thing about directing is that it’s this bizarre mixture of control and lack of control, and I’m a great believer in the idea that if you cast the right people, they’ll bring something special. In totally different ways, Michelle and Ken brought so much into the room. They’re both such formidable intellects; they know what they know. I know some directors would be quite challenged by that, but I was just very grateful. To say nothing of the supporting cast — Judi Dench, Derek Jacobi… I’ve always believed in being ambitious with casting, because actors can only say no. Never be afraid of asking. A lot of those parts are actually quite short commitments, so we sort of got lucky in a way. Judi had met Sybil Thorndike, and obviously it intrigued her — the notion of playing Sybil. I’d also worked with Judi in two previous years, so that helped, too. The allure of working with Michelle helped a lot, and liking the script helped. Being in London — local — helped. All these things contribute. Julia Ormond surprised me here, too — just totally heartbreaking. Like a lot of actresses her age, she understands Vivian’s heartbreak about having been the most beautiful woman in the world and now, at only 43, being made to feel like she’s passed it. I think modern actresses completely get that. I was wincing. Yeah! Absolutely. But it was very important to keep that in, because had Marilyn lived, maybe at 43, she’d have felt the same. Even when you’re the most beautiful woman of your generation, it can go. Do you think we can even have mythologies worthy of these kinds of interpretations and dramatizations in the future? I mean, there’s Twitter, Facebook, blogs, the rest of the Internet. Is that, too, a time that’s passed? Well, I do think the film is a love letter to a lost time. And I also think that Marilyn was a sort of prototype celebrity in a way — that frenzy around her, that interest in here. I read a biography written shortly after [The Prince and the Showgirl] — while she was still alive — that there was a sort of People magazine-y type of thing. So obviously that was going on. It just wasn’t in everybody’s face all the time. I love your having invoked Lost in Translation as something of an inspiration for this. What’s behind that influence? It wasn’t an influence, but I was thinking, “Can this story work?” And watching one of my favorite film, Lost in Translation, made me think, “Yes, it can.” They’re these two different people who come into contact with each other randomly for this short, intense time, have this impact on each other, and then go their separate ways. That’s in the structure of this film. What’s next for you? I’m not sure. I’d love to do a contemporary American story — without iconic characters. [Laughs] But I don’t know. I was talking to Sam Shepard last week about his collaborations with European filmmakers, and their historical interest in American mythology, landscape and psyche. Do you relate to that? That’s interesting. Yes, I think I do. I mean, for a Brit, I’m very knowledgeable about America and, again, whatever the equivalent of an American Anglophile is for America. I’m married to an American. I spend a lot of time here; my children are American citizens. It’s very precious to me, my relationship with America. You can think also of Sam Mendes, American Beauty, that sort of thing. But I do recognize that, and it has a great appeal to me.

The Simpsons Cast Close to Signing Deal But How Much Will They Make?

The Simpsons It looks like The Simpsons may continue their hijinks on Fox. The cast of the longest-running prime-time scripted series is close to signing a deal, which will keep them on the air for one more year, according to The Hollywood Reporter. The new deal won't reduce their salaries as much as the 45 percent pay cut Fox originally demanded, but it will not include any revenue pay. The Simpsons' Harry Shearer: I'm willing to take a 70 percent pay cut in exchange for profits On Monday, it was reported that the actors - Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer - proposed a 30 percent pay cut in exchange for a small percentage of the show's back-end profits, which includes syndication and merchandising. But that offer was swiftly rejected by the network. Early Friday, Shearer spoke out against Fox, saying he would take a pay cut as large as 70 percent in order to get a share of the sitcom's hefty profits. Shearer said there were "simply no circumstances under which the network would consider allowing me or any of the actors to share in the show's success." Fox gives Simpsons actors an ultimatum The show's producers have already agreed to salary reductions, but several of them already have deals that include compensation from back-end profits. The deadline - Friday at noon - for Fox's ultimatum for the cast to take the pay cut or the show will be canceled has passed, without response from the actors or the network.

Jordana Brewster on Fast Five, Maturing Onscreen and the Chance of a Sixth Fast & Furious Film

Last week, Movieline spoke with with Fast Five star Tyrese Gibson to get the male perspective on being part of such a lucrative, testosterone-driven franchise. Eager to get another take, we reached out to Jordana Brewster, who has played the sole heroine of the car heist series since day one. The Yale graduate eagerly discussed her growing role in Fast Five (which is released on DVD and Blu-ray this week), a potential sixth installment and her own meager knowledge of automobiles. It seems like even five movies in, Fast & Furious continues to grow more and more popular at the box office. Did you have any idea that it would be such a lasting franchise when you signed on? No! When we signed on, I was in high school and I didn’t know much about car culture. I didn’t even have my license at the time, so I knew that we were making a movie about cars but I don’t think any of us knew that we were onto something so special that would keep growing. Justin [Lin] is really amazing in that he keeps building on it without taking the fans for granted. He knows that he’s got to keep expanding and he does that by taking us to new places like Rio de Janeiro and adding characters like Dwayne Johnson’s character. Our fans are amazing and so loyal. And not just the fans but the critics also seem to have a certain respect for this franchise. Have you always felt the critics’ support as well? I stopped reading reviews like two or three movies in, so I try not to pay too much attention to that. But if they did, that’s awesome. Has your knowledge of cars expanded tremendously since the first movie? Well, I still don’t drive a stick. I did take one class, but I was so hopeless, I just said, “I’m not going to get this” and gave that up. I do love driving and appreciate it more. There’s no way you can’t living in Los Angeles. I also have developed an appreciation for just beautiful cars like the GT40 I drove in Fast Five. I was like, “Oh my gosh, I love the lines on that car.” But then someone like Paul will know what’s going into the engine and how you fix that car if it breaks down. I’m not that savvy. Do you feel any pressure to drive an awesome car in real life? No, I mean, I drive a Range Rover Sport which I really love. My dream car would be a Maserati. That would be amazing. Fast Five was such a fun movie to watch. What was the most fun scene to shoot? My favorite scene by far was the foot chase that we shot in Puerto Rico. Paul and I got to do all of these stunts which was so much fun for me — not just as an actor because I got to kick ass and jump off roofs — but because my character, Mia, got to grow and be on the run with the boys. That was something that Justin and I had talked about, and it was really important to evolve. Did you have to do some strong convincing to let Justin do your own stunts? No, Justin was like, “I’m going to push you on this one.” It was just time for her — and me — to be on the run with the boys and protect her family. She had a lot more at stake on this movie. How do you unwind from being on such an action-heavy, testosterone-fueled set every day? I meditate, which I really like. Just 20 minutes twice a day and that really helps. It’s funny because when you watch the movie it seems like it’s constant adrenaline but there’s so much stopping and starting on set that everyone is pretty mellow. That’s the only way to keep your sanity. [SPOILER ALERT] How did you react when you found out that Mia was going to be pregnant in this movie? I was excited, because story-wise, I thought it helped up the ante for her and it helped her and [Paul Walker’s character] Brian become closer. How do you think this will change the trajectory of the franchise? I don’t know. I’m excited to see where they’ll take it if there’s a sixth movie. Have you heard anything about a sixth movie yet? Nothing official, but I would be up for it. It’s so much fun because you’re working with your friends and you’re working with these people that you have a shorthand with. How much feedback do you get from female fans? I think I’ve gotten the most feedback on this one because Mia was stronger and on the run with the boys and involved in the action. Because she was a stronger female character, I did get a great response. I hear from them on Twitter about the action sequences. And yes, I still get a lot of questions about Paul and what it’s like to work with him. [Laughs]

Fox Searchlight sets 'Shame' release date

Marking what is going to be Fox Searchlight's last release this year, the studio has dated Steve McQueen's provocative drama "Shame" for limited release on 12 ,. 2. Fox Searchlight acquired U.S. distribution rights for the film within the Toronto Film Fest, while using knowing that it could release the film this year. "Shame," the tenth title to endure Fox Searchlight this season, stars Michael Fassbender just like a sex-addicted 30-something, whose existence involves a mind when his youthful sister, carried out by Carey Mulligan, involves accept him. McQueen co-written the script with Abi Morgan See-Saw Films' Iain Canning and Emile Sherman produced. The film can be a difficult sell, given its written content plus an inevitable limited rating, though potential honours traction should draw some attention. Before acquiring "Shame," Fox Searchlight moved "The Descendants" from November. 23 to November. 18, distancing the two films. The distrib released Kenneth Lonergan's "Margaret" last weekend and may bow Sundance pickup "Martha Marcy May Marlene" on March. 21. Contact Andrew Stewart at andrew.stewart@variety.com

Analyst: 3d Re-Releases Could Boost Annual U.S. Box Office by $200 million-$300 Million

NEW You'll be able to - Re-delivering choose classic movies in 3d may lead $200 million-$300 million for the U.S. box office every year, MKM Partners analyst Eric Handler thought in the report Wednesday. It came a following day of Wally Disney mentioned it could re-release in 3d four movies over the following couple of years following a wealth from the Lion King re-condition in 3d, which has approached $80 million inside the U.S. "We percieve this decision and the prospect of more major blockbuster game game titles being reformatted for just about any 3d re-release becoming an attractive chance for your Hollywood art galleries and cinema operators for instance Cinemark and Regal," Handler written. "Obtaining a choose volume of "classic" films reformatted in 3d throughout typically slow release periods may lead $200 million-$300 million of domestic box office revenue by having an annual basis." He added: "There's likely an identical worldwide chance too.Inch Handler suggested that such films make most sense throughout seasonally slow several days as September and October, which consider roughly 5.four percent and 6.three percent, correspondingly, in the year's total box office, additionally to February-April. Hollywood art galleries may require re-releases as they can "freshen a catalog title and not only drive box office sales, but furthermore reinvigorate downstream revenue drivers and consumer product distribution," Handler contended. "For your participants, the appeal is high for just about any classic film re-release limited cost point since it offers moviegoers a correctly identifiable tentpole type of title to find out using what would most likely be described as a seasonally slow period that's missing in large budget content." Four 3d re-releases are slated for 2012, then two more in 2013. Beyond the Disney game game titles, they include Fox's Alien: Episode 1 - The Phantom Menace and Titanic. "Possible films which will make sense for future 3d re-release, inside our opinion, include people that have been in the spotlight for some time that could attract family audiences, are very appreciated franchises, or boast large effects appeal that could translate well in 3d,Inch Handler mentioned, suggesting the type of Aladdin and E.T.: The Extra Terrestrial will make sense along with franchises, such as the Our god in the Rings, Raiders in the Lost Ark and Jurassic Park. "Possible one-off game game titles that could attract audiences include Close Encounters in the Third Kind, Jaws, Ghostbusters as well as Independence Day," he added. Email: Georg.Szalai@thr.com Twitter: @georgszalai Related Subjects 3d The Wally Disney Company last century Fox Film

Image Nation Separates Hollywood Division

Image Nation has separated its U.S. business from its local filmmaking activity. Michael Garin, who was appointed new CEO in February, will continue to be overall head of Image Nation, while running overseas business Image Nation International. Its American partners include Participant Media, Hyde Park Entertainment, Parkes/Macdonald and Warner Bros. Former UAE ambassador Mohammed Al Otaiba has been appointed head of newly-formed Image Nation Abu Dhabi, which has produced two local movies so far: Sea Shadow and Djinn, directed by Tobe Hooper. Garin told me recently that he has spent time restructuring deals originally signed by his predecessor Ed Borgerding, trying to give Image Nation more of a say over what gets green-lit. He has restructured Image Nations deal with National Geographic Films in particular. Before I arrived, the strategy was much more passive, he told me. The partnerships have changed significantly. Before I arrived Participant and National Geographic were structured in a way that gave us little or no control over projects. Those are not structures I would have entered into on that basis. Garin said that after hundreds of millions of dollars invested, Image Nations international exposure is close to zero. Through its Participant tie-up, Image Nation has co-produced two movies currently in strong spots at the U.S. box office: The Help, which spent 25 days at number one, and Contagion, which has grossed nearly $68 million in less than a month at theatres. That should help ease the pain of movies that Garin admits the Abu Dhabi fund took a bath on, including Peter Weirs The Way Back and Robert Rodriguezs Shorts.

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