Critic's Guide to Monday TV: Rock Center, Halloween Marathons, and More!

Rock Center with Brian Williams The biggest TV news of the night comes from a network's news division, as NBC News launches Rock Center With Brian Williams (10/9c), the first high-profile network newsmagazine with serious intent to premiere in a long while, closer in tone to 60 Minutes than Dateline's lurid true-crime fixation. How serious is this? No less a legend than Ted Koppel has signed on as a contributor, though he wasn't on the initial first-night playlist. Top-rated Nightly News anchor Brian Williams hosts live from Studio 3B in Rockefeller Center, and the opening lineup includes a report on Syrian rebellion from star foreign correspondent Richard Engel, a Kate Snow investigation about Chinese women who come to America to give birth and return with U.S. citizenship, and former CBS anchor Harry Smith with a piece about "the one place in America with a negative unemployment rate."No one's expecting blockbuster ratings, especially on Halloween night, but this project is more about prestige and credibility, and NBC is going to give it time. Besides, it's not as if they could do any worse in the time period.Want more TV news? Subscribe to TV Guide Magazine now!Boo! Halloween is a good excuse to get your freak on, and TV is happy to comply. Among the selected highlights: FX repeats the first four episodes of its stylishly berserk American Horror Story starting at 10/9c. ... MTV replays the entire 12-episode first season of its summer hit Teen Wolf (which turned out to be much better than expected) starting at 9 am/8c. ... Syfy goes wall-to-wall with Ghost Hunters, capping a daylong marathon (starting at 8 am/7c) with a six-hour live extravaganza (starting at 7/6c). ... AMC fills the day and night with various installments of the Halloween movie franchise, but the best is still the first, the 1978 classic (8/7c). ... TCM saves its creepiest classics for the witching hour of midnight, with the brilliant The Innocents, a 1961 adaptation of "The Turn of the Screw" starring Deborah Kerr, at 12:15 am/11:15c, followed by the equally chilling The Haunting (2 am/1c) from 1963, based on Shirley Jackson's masterpiece "The Haunting of Hill House."Episodic TV is also taking note of Halloween, most notably on CBS, where How I Met Your Mother (8/7c) finally reveals the identity of the "Slutty Pumpkin" mystery girl, played by Katie Holmes. ... Mike & Molly (9:31/8:31c) go to a Halloween party at her boss's house, despite Mike's aversion to the holiday. ... Freddy's back! Robert Englund, anyway, from the Nightmare on Elm Street movies, guesting as a drifter who puts a curse on Danny on Hawaii Five-0 (10/9c).We don't usually recommend turning to PBS for laughs, but Will Ferrell: The Mark Twain Prize (check local schedules) finds the Saturday Night Live funnyman-turned-movie star following in Tina Fey's footsteps, receiving the coveted prize for American humor. Among those paying wry tribute: Jack Black, Paul Rudd, Conan O'Brien and Ben Stiller.Speaking of Conan, his TBS talk show (11/10c) kicks off a week of NY broadcasts by welcoming his NBC replacement, Jimmy Fallon. Who says there's no civility in late night?Subscribe to TV Guide Magazine now!

Hollywood's Human Rights Problem(s), and 5 Other Tales You'll Be Talking About Today

Happy Monday! Also in today’s edition in the Broadsheet: Arnold Schwarzenegger sets another action comeback… James Franco can get kinky with James Dean… Doris Day draws love within the experts… Michael Shannon teases a bit of General Zod… plus much more. · Nearly any Hollywood debate blows over time, but Hilary Swank likely added some existence to her Chechen despot birthday debacle in the last weekend when she fired her manager and came thisclose to axing three of her agency squad at CAA. The moves follow Swank’s paid out appearance within the 35th special birthday of Ramzan Kadyrov, whose status for torture together with other human-rights abuses in Chechnya motivated an apology from Swank as well as the donation of her fee to charitable organization. I'm speaking about, fine, however who'll she blame for completely new Year’s Eve? [The Independent] · Not to be surpassed, Relativity Media is within serious challenge with human-rights watchdogs for filming regions of its Hangover-esque buddy comedy 21 & In china province of Shangdong, where blind dissident Chen Guangcheng remains under house arrest and prone to regular harassment from condition government physiques. Relativity overlooked the concerns in the statement, re-inifocing its persistence for the coexistence of human-rights advocacy and foreign money: “As a company, we're feeling deeply that growing trade and business ties with this particular options in China and elsewhere can result in positive benefits.” Clearly. [Deadline] · Arnold Schwarzenegger’s comeback will apparently include Black Sands, which will feature the ex-California governor as “a loner who wages war against a callous weapons manufacturer and also the private military inside the Southwest.” [Deadline] · Within the same classy joint that introduced you James Franco’s ass-y magazine cover, why not a glimpse to the actor-filmmaker’s raunchy Digital digital rebel Without any Cause-inspired art project? “Having sex with dolls with plastic dicks is fucking great […] because you are in a position to examine that act without any onus of people just searching advertising online and saying, ‘That’s pornography.’ You'll be able to really contemplate it for just about any second and ask for yourself what's happening there if you’re doing that legitimate.’” Don’t have a look at me I used to be gonna request you. [THR] · Champion to Doris Day on her behalf account forthcoming career achievement recognition within the La Film Experts Association, news which incorporated the shocking snippet tomorrow hasn’t developed a movie since 1968. Common understanding? Sure, but nevertheless: How's that possible? [LAT] · Finally, Michael Shannon offers the critical distinction you're trying to find between his Boardwalk Empire character and also the Guy of Steel villain: “General Zod is, In my opinion, a bit more effective than Van Alden. General Zod wouldn't go close to the speakeasy and possess a go. General Zod visit nothing to get the job done. General Zod doesn’t have a very supervisor.” You now know. [EW] · What’s shakin’ in North Korea? Oh, hardly any, only the official government exile of employees situated in Libya, lest they return and spread only one word of revolutionary promise or potential. Absolutely, absolutely fascinating stuff. [The Telegraph]

'Hunger Games': New Posters Hit the Web (Photos)

A series of posters promoting The Hunger Games hit the web Thursday, each showing a character in profile against a black backdrop. The one-sheets are simple and to the point with only the actor, his or her character's name, and the movie's title and logo featured. Smaller type points to The Hunger Games website and company credits. PHOTOS: 'The Hunger Games' Cast The Hunger Games, out March 23 and directed by Gary Ross, is the first of Lionsgate's trilogy of adaptations from Suzanne Collins' young adult novels. The film stars Jennifer Lawrence as heroine Katniss, Josh Hutcherson as her tireless protector Peeta and Liam Hemsworth as Katniss' confidante and crush, Gale. Woody Harrelson, Elizabeth Banks and Lenny Kravitz also have major roles in the picture, about a a young woman's struggle to survive in a deadly, government sponsored event where only one survivor emerges. PHOTOS: 10 Biggest Book-to-Big Screen Adaptations of the Last 25 Years Lawrence's one-sheet as Katniss is below. Posters of other characters follow each page break. Source: Yahoo Movies Next poster: Hunger Games' Gale Back to Heat Vision 1 2 3 4 5 6 7 next last Josh Hutcherson Lenny Kravitz Woody Harrelson Jennifer Lawrence Lionsgate Gary Ross Hunger Games

Photo: Does Scarlett Johansson Look Like Our Sexiest Movie Alien Yet?

Over the course of her career, Scarlett Johansson has played a sexy Dutch muse, a sexy clone, a sexy journalism student, a sexy Boleyn sister and a sexy, spandex-clad Roman spy. (She is so sexy that David Fincher did not cast her in The Girl with the Dragon Tattoo for fear that audiences wouldn’t be able “to wait for her to take her clothes off.”) So it’s not surprising that in Jonathan Glazer’s upcoming film Under The Skin, the bombshell doesn’t just play an alien — she plays an alien who uses a voluptuous human body to ensnare male prey. Take a look at the first photo of Johansson in character to see how she stacks up against cinema’s other most titillating extraterrestrials. Here, Johannsson seems to be channeling a few different sexy alien attributes: the ultimate femme fatale quality of Natasha Henstridge’s Sil in Species with the edginess of Milla Jovovich’s Leeloo in The Fifth Element with the total disregard for PETA-approved outerwear of Alex Pettyfer’s John Smith in I Am Number Four. Do you think that makes her the sexiest movie extraterrestrial of them all. Before weighing in below, be sure to consider Jeff Bridges in Starman? Under The Skin — not to be confused with Pedro Almodovar’s The Skin I Live In — will be the first feature from Glazer since 2004’s Birth starring Nicole Kidman. Adapted from Michael Faber’s novel of the same title, Under The Skin stars Johansson as Isserley, an extraterrestrial sent to Earth by a rich corporation on her planet to pick up unwary hitchhikers. Through her terrestrial adventures though, Isserley ultimately meets a man who convinces her to change her view on hitchhikers and breaks her heart. Obviously. Under The Skin is currently shooting in Scotland. [ICYDK via Playlist]

Julia X

A Dixie Theatrical Corp. production. Created by Greg Hall, P.J. Pettiette, Claudie Viguerie. Directed by P.J. Pettiette. Script, Matt Cunningham, Pettiette.With: Kevin Sorbo, Valerie Azlynn, Joel David Moore, Alicia Leigh Willis, Courtney Rawls, Ving Rhames.Self-conscious snark will get you simply to date when you are creating a semi-satirical slasher pic, even if you will find cheap three dimensional shocks to take advantage of, and "Julia X" virtually defines the extent of the items a movie can provide with your a restricted bag of methods. Helmer P.J. Pettiette aims mightily to raise a strenuously unfunny clash between rival serial murders to the stage of crazy, even transgressive black comedy. Only genre fans impatient to determine Kevin Sorbo cast against type like a smooth-speaking psycho will choose to catch the pic before it reaches 2D homevid. Sorbo sustains an aura of wink-wink bemusement being an irresistible nutjob keen on trolling the web for lovely sufferers to wine and dine, then torture and slay. Indeed, he keeps his sassy sangfroid despite he's trapped by a similarly deranged beauty (Valerie Azlynn) and her flakier sister (Alicia Leigh Willis). Regrettably, even while the mayhem gets worse, "Julia X" remains an encouraging premise looking for a satisfying execution. Because of three dimensional, various objects periodically seem to jut out of the screen. But that does not help.Camera (color, three dimensional), Jason Goodman editor, Take advantage of Neal music supervisor, Mason Cooper production designer, Mark Tanner. Examined at Fantastic Fest, Austin, Sept. 25, 2011. Running time: 92 MIN. Contact the range newsroom at news@variety.com

Michael Douglas Boy Pleads Guilty To Drug Charge

First Released: October 20, 2011 12:39 PM EDT Credit: Getty Images NY, N.Y. -- Caption Cameron Douglas and Michael Douglas get through to the premiere of Warner Bros. Ghosts Of Female friends Past, La, April 27, 2009Michael Douglas jailed boy has pleaded guilty to a different drug charge. Cameron Douglas accepted Thursday he handled to obtain drugs imprisonment while serving a five-year sentence to have an earlier drug plea. Douglas joined the plea to some drugs possession charge. Hes decided to serve another year imprisonment. Douglas accepted having drugs from May through a week ago. Thats when government bodies found what made an appearance to become heroin and cocaine in the cell. Federal Judge Richard Berman asked whether security lapses at two federal prison facilities managed to get feasible for Douglas to acquire drugs. The 32-year-old boy from the Academy Award-winning actor had formerly accepted to dealing methamphetamine and cocaine. He lately claimed for that government inside a drug trial included in a cooperation deal. Copyright 2011 through the Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Hungary mulls porn tax to finance film biz

BUDAPEST -- A proposal for any tax on porn sites that will help the local film biz is attaining bi-partisan support in Hungary. Laszlo Simon, person in parliament for that ruling center-right Fidesz party, has backed an initiative backed through the rival liberal LMP party to tax the neighborhood porn industry to be able to generate revenue for that cultural fund that adds gold coin to local arthouse photos. Particulars of the Fidesz-LMP co-backed bill still have to be ironed out, Simon stated. LMP Mega pixel Gergely Karacsony stated Monday that his party can also be in support of applying a 3% tax on multiplex revenues. Proceeds would be employed to subsidize the nation's ailing art-house circuit. Meanwhile, Hungary's film government bodies have reported the 20% tax break for foreign photos shot in the united states has motivated an outburst running a business. The Filmiroda film office stated that foreign productions, including miniseries "World Without Finish" and "The Borgias," and features for example Keanu Reeves starrer "47 Ronin," have introduced HUF 21 billion ($98 million) to Hungary. The figure doesn't range from the Kaira Pitt created zombie film "World War Z," that is presently lensing in Hungary. Contact the range newsroom at news@variety.com

Ivana Chubbuck on Discovery Through the Craft

Ivana Chubbuck on Discovery Through the Craft October 19, 2011 Actors have the unique obligation in their work to not only find the truth of the character, but to make that character's journey one that empowers and creates revelation for the actor and therefore the audience. When I break down a script with an actor, I always keep this in mind. This inspires growth not only in the character but in the actor as well. It's important to find that primal constant that all human beings can relate tono matter their religious beliefs, socioeconomic status, geography, age, or genderand to make choices that create universality.Beyonc Knowles played Etta James in the film "Cadillac Records." Etta was a heroin addict, and her skin color made it difficult to succeed in a white man's world. But she did cross over from an urban African-American audience and became internationally successful. Firstly, when we dug into the character, we had to look at Beyonc playing an addict, as she has never taken drugs in her life. Truth is, Beyonc barely drinks. She had no touchstone for that mentality. So why someone needs to take heroin became the first question we had to answer.Opiates are taken to kill pain, both physically and emotionally. They also help one feel capable of coping in difficult situations. Though ultimately a destructive drug, heroin initially gives one a sense that everything is manageable. We had to find where in Beyonc's life she felt emotional pain and helplessness dire enough to create a craving for a drug such as heroin. We found her personal triggers and then took a fraction of her feelings of helplessness and pain and expanded and magnified it until it motivated the need to take the drug. When acting drugged out (or drunk), it's essential to first find the need to take the drug, then the behaviors and organic feelings resulting from the drug will make sense to the actor and establish a more accurate depiction. (I have exercises in my book, "The Power of the Actor," to create organic highs for drugs and alcohol, so you're really feeling it, not just acting it out.)Understanding her own helplessness also provided Beyonc with Etta's need to changeto become someone empowered, someone who won't let life's traumas lead to self-destruction but who'll use them to fuel the struggle to overcome. That's a path that everyone can relate to. And an audience wants to watch the journey of a winner, not someone who has accepted defeat. As Beyonc has said, "We always try to find the strength and heroism of a character, no matter how much a victim that character seems to be on the page."Through exploring a character like Etta James, Beyonc saw the need to empower not only a black woman's journey, but women in general. Throughout history, the role of women has often been made secondary to that of men. Beyonc told me that she used the work we did for Etta to bring substance to her music and lyrics, to give them the depth of our need to rejoice in our strengths as women. Because playing Etta James made it so clear how necessary it was. This has become a consistent theme in Beyonc's music the last few years, as heard in "Single Ladies," "Just Stand Up," and "Run the World (Girls)."In "Hustle & Flow," Terrence Howard and I discovered that we could transcend the "pimp/ho" scenario by making his relationship with his prostitutes that of a father taking care of his children. All the things he does with and for them are the actions of a father who loves his children enough to want them to become effective and happy adults. Even when the character is abusive, we saw it as "tough love." His wanting to be a rap star was about making them proud of him, as any parent wants of his offspring. In this way, we made the film about family and the importance of it. We took a story that on the page was relatable only to a small section of people and made it universally accessible.In looking at "Pineapple Express," James Franco and I found that it wasn't a "stoner" movie at all, but a movie about a lonely man who uses marijuana as a common thread with others, a way to bond. A "bromance" was formed. James is a renaissance man who explores daily through all art forms, and through this movie he came to discover that humor, and the depth that humor is born from, is essential in the arts.Sometimes the work bleeds into your life and creates a personal discovery. In my work with Halle Berry on "Monster's Ball," we scored so deeply the reality of having a childand then the profound loss of the childthat Halle realized how much she truly wanted to be a mother. And then came her daughter, Nahla.It's hard to think of Eva Mendes without thinking how sexy she is. But when I first met her in my classes, she could be described more as a Catholic schoolgirl than a seductress. Through our work and her breakthrough in class doing a scene from "The Seven Year Itch," she came to this realization: "Sexuality is a very compelling component that makes people respond in a larger way than if the driving force of the character is solely emotional or intellectual. When both Ivana and I break down a role that I'm doing, we always make sure that all the human elements are thereemotional, spiritual, intellectual, and sexual. It works together to create one full person."In working with Emily Deschanel and David Boreanaz for the past six years on "Bones," I helped them realize that "Bones" should not be looked at as a procedural crime-of-the-week show, but rather it's about two people falling in love. I've also helped them to recognize that each crime facilitates the growth of their relationship, and whatever the subject of the crime, it is fodder to grow and add richness to their love. The sexual connection and the humor are a part of their attachment. It is crucial to understand that relationships are successful not because two people have great "feelings talks" but because they have fun with one another. That is key to a person wanting to be with someone. In this way, an audience ends up rooting for their union. Bottom line: Creating a relationship is premier in an actor's script analysis. The plot enables and accelerates the relationship.All forms of art should allow for discovery. For the actor, writer, and director, the choices they make should cover ground that supports revelation for the character, the actor playing the role, and the audience.Ivana Chubbuck is an acting coach and the founder and director of the Ivana Chubbuck Studio. Her students have also included Brad Pitt, Ryan Reynolds, Chris Pine, Terrence Howard, Elisabeth Shue, Catherine Keener, Djimon Hounsou, America Ferrera, Kate Bosworth, Ian Somerhalder, Jake Gyllenhaal, and Charlize Theron. She has also worked with Jim Carrey, Jessica Alba, Radha Mitchell, Carrie-Anne Moss, Garry Shandling, Jessica Biel, Amy Brenneman, Kate Walsh, Judith Light, Amy Smart, Marcia Cross, Jared Leto, David Spade, Matthew Perry, Ali Larter, and Gerard Butler. Her book, "The Power of the Actor: The Chubbuck Technique," has been adopted for use as a textbook in many colleges and universities internationally, as well as being translated into a number of languages around the world. Ivana has also taught at the Juilliard School in New York. Ivana Chubbuck on Discovery Through the Craft October 19, 2011 Actors have the unique obligation in their work to not only find the truth of the character, but to make that character's journey one that empowers and creates revelation for the actor and therefore the audience. When I break down a script with an actor, I always keep this in mind. This inspires growth not only in the character but in the actor as well. It's important to find that primal constant that all human beings can relate tono matter their religious beliefs, socioeconomic status, geography, age, or genderand to make choices that create universality.Beyonc Knowles played Etta James in the film "Cadillac Records." Etta was a heroin addict, and her skin color made it difficult to succeed in a white man's world. But she did cross over from an urban African-American audience and became internationally successful. Firstly, when we dug into the character, we had to look at Beyonc playing an addict, as she has never taken drugs in her life. Truth is, Beyonc barely drinks. She had no touchstone for that mentality. So why someone needs to take heroin became the first question we had to answer.Opiates are taken to kill pain, both physically and emotionally. They also help one feel capable of coping in difficult situations. Though ultimately a destructive drug, heroin initially gives one a sense that everything is manageable. We had to find where in Beyonc's life she felt emotional pain and helplessness dire enough to create a craving for a drug such as heroin. We found her personal triggers and then took a fraction of her feelings of helplessness and pain and expanded and magnified it until it motivated the need to take the drug. When acting drugged out (or drunk), it's essential to first find the need to take the drug, then the behaviors and organic feelings resulting from the drug will make sense to the actor and establish a more accurate depiction. (I have exercises in my book, "The Power of the Actor," to create organic highs for drugs and alcohol, so you're really feeling it, not just acting it out.)Understanding her own helplessness also provided Beyonc with Etta's need to changeto become someone empowered, someone who won't let life's traumas lead to self-destruction but who'll use them to fuel the struggle to overcome. That's a path that everyone can relate to. And an audience wants to watch the journey of a winner, not someone who has accepted defeat. As Beyonc has said, "We always try to find the strength and heroism of a character, no matter how much a victim that character seems to be on the page."Through exploring a character like Etta James, Beyonc saw the need to empower not only a black woman's journey, but women in general. Throughout history, the role of women has often been made secondary to that of men. Beyonc told me that she used the work we did for Etta to bring substance to her music and lyrics, to give them the depth of our need to rejoice in our strengths as women. Because playing Etta James made it so clear how necessary it was. This has become a consistent theme in Beyonc's music the last few years, as heard in "Single Ladies," "Just Stand Up," and "Run the World (Girls)."In "Hustle & Flow," Terrence Howard and I discovered that we could transcend the "pimp/ho" scenario by making his relationship with his prostitutes that of a father taking care of his children. All the things he does with and for them are the actions of a father who loves his children enough to want them to become effective and happy adults. Even when the character is abusive, we saw it as "tough love." His wanting to be a rap star was about making them proud of him, as any parent wants of his offspring. In this way, we made the film about family and the importance of it. We took a story that on the page was relatable only to a small section of people and made it universally accessible.In looking at "Pineapple Express," James Franco and I found that it wasn't a "stoner" movie at all, but a movie about a lonely man who uses marijuana as a common thread with others, a way to bond. A "bromance" was formed. James is a renaissance man who explores daily through all art forms, and through this movie he came to discover that humor, and the depth that humor is born from, is essential in the arts.Sometimes the work bleeds into your life and creates a personal discovery. In my work with Halle Berry on "Monster's Ball," we scored so deeply the reality of having a childand then the profound loss of the childthat Halle realized how much she truly wanted to be a mother. And then came her daughter, Nahla.It's hard to think of Eva Mendes without thinking how sexy she is. But when I first met her in my classes, she could be described more as a Catholic schoolgirl than a seductress. Through our work and her breakthrough in class doing a scene from "The Seven Year Itch," she came to this realization: "Sexuality is a very compelling component that makes people respond in a larger way than if the driving force of the character is solely emotional or intellectual. When both Ivana and I break down a role that I'm doing, we always make sure that all the human elements are thereemotional, spiritual, intellectual, and sexual. It works together to create one full person."In working with Emily Deschanel and David Boreanaz for the past six years on "Bones," I helped them realize that "Bones" should not be looked at as a procedural crime-of-the-week show, but rather it's about two people falling in love. I've also helped them to recognize that each crime facilitates the growth of their relationship, and whatever the subject of the crime, it is fodder to grow and add richness to their love. The sexual connection and the humor are a part of their attachment. It is crucial to understand that relationships are successful not because two people have great "feelings talks" but because they have fun with one another. That is key to a person wanting to be with someone. In this way, an audience ends up rooting for their union. Bottom line: Creating a relationship is premier in an actor's script analysis. The plot enables and accelerates the relationship.All forms of art should allow for discovery. For the actor, writer, and director, the choices they make should cover ground that supports revelation for the character, the actor playing the role, and the audience.Ivana Chubbuck is an acting coach and the founder and director of the Ivana Chubbuck Studio. Her students have also included Brad Pitt, Ryan Reynolds, Chris Pine, Terrence Howard, Elisabeth Shue, Catherine Keener, Djimon Hounsou, America Ferrera, Kate Bosworth, Ian Somerhalder, Jake Gyllenhaal, and Charlize Theron. She has also worked with Jim Carrey, Jessica Alba, Radha Mitchell, Carrie-Anne Moss, Garry Shandling, Jessica Biel, Amy Brenneman, Kate Walsh, Judith Light, Amy Smart, Marcia Cross, Jared Leto, David Spade, Matthew Perry, Ali Larter, and Gerard Butler. Her book, "The Power of the Actor: The Chubbuck Technique," has been adopted for use as a textbook in many colleges and universities internationally, as well as being translated into a number of languages around the world. Ivana has also taught at the Juilliard School in NY.

OSCAR ALUMNI: Maximilian Schell to look at Academy Tribute Tuesday

U . s . Artists It's been 5 years because the legendary Austrian-born Swiss actor-director Maximilian Schell was last within the U . s . States, however the 80-year-old, who arrived in La Monday, is going to be honoring a significantly bigger milestone Tuesday in the Academy of movement Picture Arts and Sciences in Beverly Hillsides: the approaching 50th anniversary of his best actor Oscar win for his performance being an attorney protecting alleged Nazi war crooks in Stanley Kramer's Judgment at Nuremberg (1961). (Schell seemed to be identified by the Academy having a jerk for that Guy within the Glass Booth [1975] along with a best supporting actor jerk for Julia [1977], and directed the foreign-language films First Love [1970] and also the Pedestrian [1973] and documentary feature Marlene [1984], which received nods within their particular groups, too.) The Academy tribute, that will can start 7:30pm PST, will have a screening from the film, a Q&A using the actor moderated by Ray King and videotaped tributes to him from the kind of Tom Brokaw, William Shatner (who also made an appearance in Judgment at Nuremberg), and Alec Baldwin (who starred within the 2000 TV small-series Nuremberg). Advanced tickets have offered out, but individuals who would like to stand in the standby line is going to be designated amounts beginning at 5:30pm PST. Schell granted The Hollywood Reporter his only interview just before the Academy event for that to begin our "Oscar Alumni" pieces, by which we'll meet up with honorees from Academy awards past at least one time every month. Requested if he is able to think that it's been one half-century since his large evening, he jeered, "I have to!Inch Other highlights from the conversation appear below. On his parents and why his family fled Vienna for Zurich when he was 8 "My mother was an actress along with a director, too. And my dad would be a playwright and poet. He authored plays -- and that he authored things against Hitler." On his acting debut at 4 years old "I performed inside a abide by my dad... My mother directed it. I needed to dance having a 'violet,' and she or he was very beautiful, and, obviously, I fell, kind of, for each other. But my mother, for whatever reason, transformed it, in the last moment, to a different girl... and that i stated I wouldn't appear. Then she stated I wouldn't get almost anything to eat that evening, and that i still stated, 'Nm-mm.' Then your 'violet' even came and required my hands, and so i went while watching audience, and that i yelled, 'I'm not really a flower. I'm grass!' And there is an incredible reaction in the audience -- huge applause. I'd the greatest I ever endured.Inch On being 'discovered' for his first American film The Youthful Lions (1958) "A real estate agent... for William Morris was delivered to Europe for scouting... to discover who does be interesting for America... plus they sent him to my agent, who stated, 'The just one I understand is Maximilian Schell'... after which he requested me arrive at Paris to satisfy [director] Edward Dmytryk and Marlon Brando. Marlon couldn't speak a thing of German and that i couldn't speak a thing of British, but, in some way, we've got along perfectly for 2 hrs, and also at the finish he stated I ought to take part in the part." On coming in Hollywood "It had been exciting. I loved Hollywood right from the start. It's this type of wonderful, adventurous city, and all sorts of the great situations are here... [However] Among the bad things in Hollywood was after i drove with this particular girl lower Sunset Blvd., and she or he stated, 'Who's your preferred composer?' and that i stated Mozart. 'How would you spell that?' I stated, 'I don't think this is actually the right city for me personally.Inch Around the live TV version of Judgment at Nuremberg that broadcast on CBS's Playhouse 90 in 1959 "George [Roy Hill] am pleased with me [within the 1959 live TV version of Child in our time which broadcast on CBS's Playhouse 90] he stated, 'If I ever look for a part for you personally I'll immediately phone you'... then George sent us a script known as Judgment at Nuremberg." [Claude Rains, Melvyn Douglas, and Paul Lukas also starred.] On Stanley Kramer's giant screen adaptation of Judgment at Nuremberg "Stanley Kramer saw [the television version], and that i was the only person he required [almost -- Werner Klemperer also made an appearance both in versions], while he thought, 'That youthful actor will be a special Hendes Rolfe'... I had been really surprised... obviously, I didn't know it might be this type of success." [Spencer Tracy, Burt Lancaster, Richard Widmark, Montgomery Clift, Marlene Dietrich, and Judy Garland also starred.] Around the role he performed in on television and film (and also the role he initially wanted much more) "Hendes Rolfe only agreed to be an attorney -- and, really, it wasn't written for any 3 decades old, you realize, but George felt which i would work best with the part. Really, I preferred the accused one, the role which Burt Lancaster performed, since it's an excellent role: you may be quiet for the entire film, after which, again, you've got a great speech. But he [Hill] stated, 'He is really a minister -- he or she must be older. And i believe it's a lot more interesting that you simply take part in the youthful guy -- it had been written for you personally!' And i believe he was right." On carrying out his large speech close to the finish from the film (click the link to see watching it in the whole) "Tracy been on his contract he would always only work from ten to 1 and from 3 to 5... Always, once they wanted to setup a scene with Spence, also it was ten to 5, you realize, Spence would take his watch and say, 'Well, folks, I don't know for a moment allow it to be!' Plus they didn't allow it to be, obviously, and that he went. However, after i had my great ending speech -- which we authored together, really, Abby Mann, and George Roy Hill, and myself -- he stated, 'Max, do you want me?' You realize, it's usual that the partner who's this is not on the screen sits or stands near the camera. So he stated, 'Max, do you want me with this scene?' I stated, 'Spence, it's already five o'clock.' He stated, 'Well, you don't need me.' However he remained there to have an unknown little actor from Europe -- he remained, and that he assisted. It had been an excellent show of friendship, also it trained us a lot." On learning he -- together with co-star Tracy -- have been nominated for top actor Oscar "I believe I had been skiing somewhere in Europe. I didn't know anything much about acting honors. It had been wonderful to become nominated." On Oscar evening "I came for that Academy awards. The very first three occasions I came, after which later on I stated, 'I'll remain in Munich, and have a sleeping pill, and when the phone rings I'll know I won, and when it doesn't ring I'll get enough rest.'" [Click the link to look at Joan Crawford announce the very best actor nominees for 1961 (that also incorporated Charles Boyer, Paul Newman, Stuart Whitman, and Tracy), available to envelope and browse his title, and him deliver his victory speech.] Around the impact from the Oscar "Well, it had been, for me personally, an advantage. Obviously, it helped me known on the planet... Obviously, it's extremely important to have an actor -- but my real goal was pointing... Regrettably, there weren't a lot of good parts... And That I began to direct." On being so carefully connected with playing Spanish people and/or films about The Second World War (including Judgment at Nuremberg [1959-TV, 1961-film], Return in the Ashes, Counterpoint [1967], The Pedestrian [1973], The Odessa File [1974], A Bridge Too Much [1977], Mix of Iron [1977], Julia [1977], The Guy within the Glass Booth [1975], and also the Diary of Anne Frank [1980-TV]) "I didn't prefer to [play] a lot of Spanish people, you realize? Since the Spanish people didn't possess the picture of loving, fantastic males, you realize?... Germany has another side -- an excellent side -- which side I usually loved to represent." On whether lucrative thinks about themself more like a director than an actress "Yes, a lot more. To tell the truth, I don't think I'm an actress. I'm a creator -- or play the role of.Inch On his current projects "I've three plans: the first is to perform a film about Karl Marx in the last days in Algeria... these guys to perform a wonderful film about Mozart and Napoleon, who, based on history, had never met, however i understood they did... after which to perform a film maybe about myself -- a classic actor who did Hamlet three occasions in German, and today he hopes to get it done once again... I don't determine if I'm able to make sure they are, however it's nice to consider... I enjoy uncover -- constantly to uncover, constantly to become surprised, constantly to become astonished by what's happening on the planet.Inch Alec Baldwin William Shatner Academy awards

The Playboy Club: What Went Wrong

The Playboy Club It took years for The Playboy Club to hop into primetime. It took NBC three weeks to kill it. Quick cancellations are nothing new in TV, but the rapid demise of The Playboy Club might serve as a cautionary tale for programmers as they depend more on familiar franchises and icons to attract distracted viewers. With so much competition for the attention of viewers, network execs are looking for anything that might give them an edge in marketing and awareness - which is why so many remakes with familiar titles are hitting the air. The Playboy Club wasn't a reboot of an old show, but rather an original series looking to leverage a popular global brand. NBC liked that the name "Playboy" would at least cut through the clutter of fall TV's slew of new series launches. "Many programmers would look at it and say, 'Here's a huge brand that should be able to give us baked-in awareness," says one insider. But the brand may have ultimately prevented audiences from even sampling what was ultimately a rather tepid period crime drama. "It was a fundamentally flawed concept," the insider adds. "It's a soap, which inherently appeals to women. But it's a brand so tied to men. I just think it was doomed from the start." Early on, the idea of building a primetime series around the Playboy brand seemed like a novel plan. After all, E! Entertainment's The Girls Next Door had helped push Playboy and founder Hugh Hefner into the mainstream - and 60 years after the magazine first launched, Playboy now seemed almost quaint and tame. At the same time, Playboy had just begun to license its name to a new chain of Playboy Clubs (which had been dormant for 20 years) in locations such as Macau and Las Vegas, making it an actual, active business again. The show also boasted some pretty hefty auspices. If anyone was going to produce a series set in the world of Playboy, it was going to be Imagine TV. Imagine Entertainment's Brian Grazer - who even has a vintage Playboy pinball machine outside his Beverly Hills office - has been eager to produce a feature film about Playboy founder Hugh Hefner since at least 1999, when he first secured the icon's life rights. Three years later, Imagine also gained the archival rights to Playboy content to use as source material for projects. Oliver Stone was attached to the Hefner biopic at one point, and Brett Ratner later came on board, with Robert Downey, Jr. rumored to star. But while the feature idea crept along, TV was about to dive right in. In 2009, NBC first bought the script Bunny Tales, about 1960s-era cocktail waitresses working at The Playboy Club, from Imagine and 20th Century Fox TV. But that project, from writer Becky Mode, didn't make it to the pilot stage. A year later, Imagine and 20th tried again, this time with a script by Chad Hodge. By then, AMC's Mad Men - which even set an episode inside a Playboy Club - had made it cool to set your show in the swinging '60s. And new NBC Entertainment chairman Bob Greenblatt, looking to make a big splash in a short amount of time, was enamored enough with the idea of a Playboy-branded series that in January he gave the show, rechristened Playboy (and later amended to The Playboy Club), his first pilot order at the network. Early on, there were a few hiccups: Newcomer Jeff Hephner was originally cast as the show's lead but days later replaced by Eddie Cibrian after the show's first table read. But by May, it was clear that fourth-place NBC was eager to put big names and big ideas on the screen as it looked to turn things around. A pre-sold title like The Playboy Club was worth a try. As a matter of fact, when NBC greenlit the show to series, the network stipulated that "Playboy" had to be in the show's title. Insiders said an alternative title, such as dusting off Bunny Tales, wasn't even discussed. Execs at Imagine and 20th Century Fox TV, which always assumed the title would be changed, were surprised. "That brand is so established in its meaning, so embedded in the conciousness of the audience, for good and for bad," says one insider. Then came the backlash, which revolved solely around the title, as NBC's Salt Lake City affiliate, owned by the Mormon church, refused to air a show with Playboy in its name. Several groups called for a boycott of NBC stations that aired the show, as well as advertisers that appeared during its commercial breaks. Even women's rights leader Gloria Steinem, who famously wrote in the 1960s about going undercover at a Playboy Club, advocated a boycott. But most of those cultural critics hadn't actually seen the show. The TV critics who had watched the pilot weren't impressed, perhaps in part because the controversy belied the fact that The Playboy Club was ultimately a run-of-the-mill drama. Says an exec: "Most women look at the show's title and say, 'It's not the show for me, it's a show for my husband. Their husband looks at it and sees there's no T-and-A, because it's on broadcast." In other words, viewers intrigued by the Playboy name were disappointed by the lack of titillation. Viewers who might be interested in the show's mainstream stories were turned off by the word "Playboy." Net result? No viewers. In the end, saddled with a weak lead-in (The Sing-Off), bad reviews and too much negative baggage, The Playboy Club never even opened. The show debuted to 5 million viewers, dropping to 3.4 million by Week 3. "I'm sorry NBC's The Playboy Club didn't find its audience," Hefner wrote on Twitter. "It should have been on cable, aimed at a more adult audience." Hodge told Out magazine that he thought The Playboy Club might fit better on another NBC Universal network like Bravo. But he won't get the chance to find out: 20th and Imagine have no plans to shop the show elsewhere. "If the show were hugely well-reviewed and there was a groundswell of support from a core group of viewers there maybe would be some potential," an exec says. "But it only aired a few times and dropped every week." Adds another exec: "It was an idea targeted at one audience, but a brand connection that unfortunately was at odds with who that audience is." Subscribe to TV Guide Magazine now!

Vin Diesel inks first-look deal with Universal

DieselAfter Universal Pictures locked the writer and director of "Fast Five" into first-look deals, it only made sense that one of its stars was next.That would be Vin Diesel, who's signed a two-year production pact at Universal to house his One Race Films. Diesel, who's appeared in all but one of the "Fast" pics that have grossed more than $1.5 billion worldwide, will be joined on the lot by his One Race execs Samantha Vincent and David Ortiz."Fast Five" scribe Chris Morgan and director Justin Lin were given first-look deals after the automotive actioner kicked off this year's blockbuster season, grossing $600 million worldwide and ending a significant slump for Universal with an $82.3 million domestic bow, the biggest in the studio's history.Universal has now wrapped up key creatives from all sides of a single franchise. And though first-look talent deals are common, it's unusual for a barrage of production contracts to spring from just one film. The deals show that Universal is not only committed to future "Fast" pics, but other unrelated projects that Diesel could drive as well.Besides the "Fast" franchise, the thesp has been a key force in shaping U's "Riddick" series, which he has produced and starred in. The first, 2000's "Pitch Black," became a cult fave, and Diesel's character returned in 2004's "Chronicles of Riddick." That film earned $116 million worldwide and spawned a hit vidgame series. Diesel and writer-helmer David Twohy have continued development on the third film, releasing concept art and keeping fans up to date via Facebook and Twitter.Diesel is repped by CAA and Brillistein Entertainment Partners. Contact Justin Kroll at justin.kroll@variety.com

FilmDistrict Sued Over 'Misleading' 'Drive' Trailer (Video)

Ryan Gosling's crime drama Drive may have been a hit with critics, earning a score of 93% on Rotten Tomatoes, but one Michigan woman was so unhappy with the film -- she's suing.our editor recommendsDrive: Cannes 2011 Review'Drive' Star Ryan Gosling's 11 Most Memorable Roles (Photos)CANNES 2011 Q&A: 'Drive' Director Nicolas Winding Refn PHOTOS: Ryan Gosling's Career in Pictures Sarah Deming has filed a lawsuit against FilmDistrict claiming that the distributors, "promoted the film Drive as very similar to the Fast and Furious, or similar, series of movies." The film, directed by Nicolas Winding Refn, sees Gosling as an unnamed stunt driver by day who moonlights as getaway driver by night. While the movie features a few impressive car scenes, the story centers mostly on the Driver's relationship with Carey Mulligan's character and several gruesome casualties along his journey to protect her family from harm. STORY: 'Drive' Soundtrack Climbs iTunes Charts on Strong Viral Reviews "Drive bore very little similarity to a chase, or race action film... having very little driving in the motion picture," the suit continues. "Drive was a motion picture that substantially contained extreme gratuitous defamatory dehumanizing racism directed against members of the Jewish faith, and thereby promoted criminal violence against members of the Jewish faith. Deming is seeking a refund for her movie ticket, in addition to halting the production of "misleading movie trailers" in the future. The plaintiff intends to turn her individual case into a class action lawsuit, thereby allowing fellow movie-goers an opportunity to share in the settlement, reports Detroit's WDIV-TV. See the trailer in question below. Related Topics Ryan Gosling Drive

Hot Trailer: Arthur Christmas

Here’s a trailer for that new the new sony Pictures Animation’s Arthur Christmas, the initial pic to look for the sunshine within three-year deal with Wallace & Gromit producer Aardman Animations. It premieres November 23. James McAvoy, Hugh Laurie, Jim Broadbent, Bill Nighy and Imelda Staunton perform the voice target the 3d film, which shows exactly how Santa has the ability to accomplish Christmas each year.

KickStarter Seeks To Protect Fan-Funding Model From Patent Threat (Exclusive)

Kickstarter, the burgeoning online forum that allows filmmakers, musicians, and other artists to raise independent financing for projects, is being threatened by competitors who claim to have patented the "fan-funding" approach. The company is seeking to save itself by asking a NY federal court for declaratory relief from claims of patent infringement. Started in 2009 by Perry Chen, Yancey Strickler, and Charles Adler, Kickstarter has been hailed as an innovative way to raise capital for micro-projects. Instead of going to Hollywood studios, big record labels, or large publishing houses, artists go to the Kickstarter website, describe their project, and ask fans for money. Kickstarter has raised more than $75 million in two years for 10,626"creative projects" based on the donations of813,205 "backers," according to a glowing review in August by The NY Times Magazine. The website has grown in popularity because it takes no ownership percentage of projects, instead taking a small percentage of total funding if a project is successfully funded. But in the six months, according to legal documents filed by Kickstarter, the company has been repeatedly threatened by other companies who are also in the fan-funded arena. In February, ArtistShare CEO Brian Camelio registered a patent that was titled, "Methods and Apparatuses for Financing and Marketing a Creative Work." The patent describes a process by which artists register works into a centralized database and offer entitlements in exchange for capital. The following month, Camello is said to have written two senior executives at Kickstarter "to discuss ArtistShare's patent and software licensing terms for Kickstarter." After hearing no response, he sent another letter in an attempt to "initiate amicable discussions" before showing up in person to Kickstarter's NY office unannounced in an unsuccessful effort to corner Strickler. Over the next few months, conversations between Kickstarter's outside counsel and Camelio continued over the allegations of patent infringement. In August, it's alleged that a company called Fan Funded was formed with money put up from ArtistShare. The following month, Fan Funded declared it "owns" the patent in question and sought to resolve the situation. But negotiations went nowhere, and now KickStarter says it believes it is under threat of a patent infringement lawsuit. The registered patent appears to be an example of a relatively new class of patents known as "business method patents," which allow enterprises the exclusive rights to conduct business in a certain way, and have been controversial among those who question whether these method patents meet the patentable standard of non-obviousness. These types of patents became subject to an important Supreme Court case in 2010in Bilski v. Kappos, which didn't eradicate them and may have helped pushed Congress into enacting significant patent reform earlier this year. Ironically, one of the latest projects seeking funding on KickStarter is from a patent agent looking to score money for a bookthat celebrates the art contained in published U.S. patent applications and granted U.S. patents. It's doubtful the patent now in question will make it into that book. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner

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Is Berenice Marlohe a Bond 23 girl?

It's a hard existence being Difficulties. Quite simply the quote about Jason Bourne: males wish to be you, women desire to lick you.Then every few years you're asked for to smooch around our planet's finest female stars. Which side we sign up for it may?Because Bond 23 has came back all set to go it is time for your casting company company directors to search through all of the stunning stars as being a bloke in the white-colored van moving through Nuts magazine.The newest vibrant youthful step to become examined by Bond's charms will (once the whispers are true) be Berenice Marlohe, a young French TV actress which has started to find her distance to films.Can it be just us or possibly is she holding a golden gun because picture? Be cautious Bond, that certain may provide you with a damn good licking.