How Attacking Young Boys Grew to become the general public Face of Copyright Reform

Charles Eshelman/Getty Images A couple of days ago, we authored about Fight for future years, a not-for-profit that began an offer and website known as"Free Bieber," warning that pop star Attacking Young Boys could face 5 years imprisonment if copyright laws and regulations were amended. A great deal has happened since, therefore it's time for you to update.our editor suggests Attacking Young Boys May be the 'Real Deal' along with a Lengthy Career States Reality TV Producer'Justin Bieber: Never Say Never' Producer Stresses Need for Social MediaCould Justin Biebers Never Say Never Obtain a Best Doc Oscar Nomination? Fight for future years expresses worry about S. 978,which may make unauthorized web streaming of copyrighted work a criminal offence, and states Bieber's freedom is on the line. STORY: Attacking Young Boys Picks the five Tunes That Inspire Him The audience highlights that Bieberbecame famous consequently ofposting covers of popular R&B tunes to YouTube, which can be true, but hardly comprises illegal streaming underneath the suggested legislation. Here's whyBieber is protected from jail even when what the law states passes. Following the website got attention, the singer's reps grew to become upset over the way the singer had been used like a prop.So Bieber's lawyers sent a cease-and-desist letterto shut lower "Free Bieber," quarrelling the website itself was breaking his trademark, privacy and publicity privileges, doing such things as promising the appearance of "Free Bieber" t-t shirts using the teen star proven behind jail bars. Several music artist guilds also provide opposed the "Free Bieber" movement, quarrelling the suggested bill really helps artists like Bieber. STORY: Attacking Young Boys's 'Under the Mistletoe' Headed for Platinum? Sells 164,000 in Pre-orders Fight for future years maintained the Electronic Frontier Foundation, the nonprofit legal advocacy group, which came back fire witha replythatmakes the situation that no laws and regulations happen to be damaged in the whole process of "Free Bieber." The EFF dismisses trademark allegationsbecause it's a political website which makes fair utilisation of the term "Attacking Young Boys,Inch rejects a privacy claim because "we can't fathom how this political campaign by any means trespasses on any privacy right your very public client might assert," and states there's no publicity privileges breach due to freedom of expression. Quite simply, groups ought to be permitted to keep up celebs to create political points. EXCLUSIVE: Attacking Young Boys: 'With Time Off Work, I'm In a position to Think, Pray and Develop' Then, Bieber got around the radio making claims which make us wonder if his reps are actually talking to with him on these problems. An invisible host introduced Bieber towards the suggested legislation -- not necessarily doing a fantastic job, within our opinion -- and Bieber responded the lawmaker who crafted the balance "must be secured.Inch What the law states was suggested by Minnesota Senator Amy Klobuchar. Bieber made the comment as though it was the very first time he's learned about these problems. Is he getting used like a prop by each side from the problem? Here's the audio. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Attacking Young Boys Attacking Young Boys: Never Say Never

Scarlett Johansson and Matt Damons 'We Bought a Zoo' Targeted by PETA

We Bought a Zoo, the upcoming 20th Century Fox drama starring Scarlett Johansson and Matt Damon, is supposed to be an uplifting story about a father (Damon), who, with little to no experience, revitalizes a struggling zoo.our editor recommendsScarlett Johansson and Matt Damon Star in 'We Bought a Zoo' Trailer (Video) PETA, however, is not feeling the warm and fuzzies. "We Bought a Zoo conveys the misleading and downright dangerous message that no special knowledge-just a lot of heart-is needed to run a zoo," says PETA Vice President Lisa Lange. VIDEO: Scarlett Johansson and Matt Damon Star in 'We Bought a Zoo' Trailer PETA released a statement asking filmmaker Cameron Crowe and the studio to add a warning at the end of the film about the dangers of owning wildlife. "As the tragedy in Ohio gruesomely illustrates, wild animals aren't Disney characters. They have very special needs that all too often aren't met by people who buy them on a whim because they think it would be 'cool' to own a tiger," continued Lange in the statement. VIDEO: Matt Damon's 5 Most Memorable Roles Lange refers to the shooting of dozens of animals in Zanesville, Ohio, on Tuesday, after the animals were freed by their owner, who then committed suicide. Of the 56 animals that the man released, only a grizzly bear, two monkeys and three leopards were taken alive. The shocking event has cause the public and activists to demand stricter laws on the ownership of exotic animals. PHOTOS: On Set with the Leading Ladies of Hollywood PETA's statement says that experts estimate that there could be up to 15,000 captive big cats in the U.S., the vast majority of whom are in private hands. The organization asks that all accompanying promotional materials for We Bought a Zoo also contain a warning about the dangers of wild animal ownership. Related Topics Matt Damon Scarlett Johansson We Bought a Zoo

GOP debate draws 5.5 million

Tuesday's GOP debate drew 5.47 million viewers to CNN.Interest continues to run high early this election cycle, with Tuesday's GOP debate drawing 5.47 million viewers, according to preliminary Nielsen estimates. This makes it the second highest of the season (behind Fox News Channel's Sept. 22 debate, which drew 6.11 million).Running from 8 to 10 p.m. ET, the Las Vegas Debate moderated by Anderson Cooper made CNN the top-rated cable network in the time period -- and its overall audience also topped broadcaster NBC, which drew about 5.2 million for reality show ''The Biggest Loser.'' Usual cable news leader Fox News averaged 2.08 million during the same time frame, and its adults 25-54 delivery (493,000) was less than one-third what CNN drew (1.65 million).Earlier this fall, MSNBC's coverage of a debate at the Ronald Reagan Presidential Library on Sept. 7 drew 5.4 million, and CNN's telecast of the Tea Party-sponsored debate on Sept. 12 drew 3.6 million viewers.

Alfredson's 'Tinker' to start Stockholm

STOCKHOLM -- "Mess Tailor Soldier Spy" will open the 22nd Stockholm Intl. Film Festival, marking a homecoming celebration due to its Swedish helmer Tomas Alfredson. The fest, which screens 173 game game titles from November. 9-20, will close with Pedro Almodovar's "The Skin Home Is.Inch Your competitors features a more effective Scandinavian flavor than usual, with four Nordic films among the 22 game game titles -- Joachim Trier's "Oslo, 31 August" and Jannicke Systad Jacobsen's "Turn Me On, Dammit" from Norwegian, and Ruben Ostlund's "Play" and Levan Akin's "OthersInch from Sweden. Whit Stillman will chair the jury, along with his film "Damsels in Distress" screening from competition among 16 game game titles inside the American Independents section. French actress Isabelle Huppert will probably be honored while using fest's Lifetime Achievement Award. Mexican auteur Alejandro Gonzalez Inarritu can get the Visionary Award, and may give a masterclass. The U.S. is represented inside the primary competition by Miranda July's "The Long Run,In . Sean Durkin's "Martha Marcy May Marlene" and Andrew Okpeaha MacLean's "Round the Ice." A effective choice of British competitors includes "Shame" by Steve McQueen, Paddy Considine's "Tyrannosaur," "Coriolanus" by Take advantage of Fiennes and Andrea Arnold's "Wuthering Levels," the fest's focus gala screening. "OthersInch is among three Swedish films getting world premieres within the fest, along with Staffan Lindberg's "Not such a long time ago in Phuket" and Kjell-Ake Andersson's "Elsewhere." You'll in addition have a Nordic premiere for your lavish Swedish period drama "Simon as well as the Trees," directed by Lisa Ohlin. Danish helmer Nicolas Winding Refn's L.A. thriller "Drive" is screening from competition on view Zone section, which includes David Cronenberg's "A Dangerous Method," Paolo Sorrentino's "This Ought To Be the areaInch and Gus van Sant's "Restless." "Our 22nd program is fully full of strong game game titles and fresh beginners, which year we are very happy to present more female company company directors than in the past,In . mentioned festival director Git Scheynius. "The festival offer everyone else our most extensive gala program so far, made up of local world premieres and Nordic premieres of worldwide high-profile game game titles," added program manager George Ivanov. You will also have masterclasses by cinematographer Christopher Doyle and Danish producer Peter Aalbeck Jensen. Contact the number newsroom at news@variety.com

Oscar-Chasing The Artist Starts Strong In NYFF, Hamptons Festival Tour

The Artist, the silent film that has emerged since Cannes as one of the year’s presumptive Oscar front-runners, finally makes landfall in the States this weekend: Following tonight’s East Coast premiere at the NY Film Festival, Michel Hazanavicius’s tribute to old Hollywood rolls out for audiences at the Hamptons Film Festival. And if today’s early reactions at the NYFF press screening were any indication, all signs point to success. Starring Jean Dujardin as a self-obsessed silent-era superstar marginalized by the advance of talkies, The Artist is a touching (if slightly overprecious) romp through cinema’s first great sea change. Like fellow NYFF ‘11 class members My Week With Marilyn and Hugo, the film is also a gorgeous exercise in movie love — this one shot in black and white on location at many of the backlots where its influences were born more than 80 years ago. Its surprises and wonders are too rich to spoil here, from the game supporting cast of American actors to an animal performance worth its own Oscar consideration, and it does lapse periodically into a simple-minded vanity that mirrors its main character’s own worst trait. But as a showcase of pure filmmaking and performance craft, it’s a blessedly singular piece of work. Most impressive is Brnice Bejo, the Argentinean actress who co-stars as upstart Hollywood starlet Peppy Miller. When a chance encounter with Dujardin’s leading man George Valentin lands Peppy on the cover of the influential trade bible Variety (The Artist is nothing if not quaint), she creatively leverages her newfound notoriety to bring her spunk to the big screen. Her eventual ascent as the first star of the talking-picture era resembles the inverse of George’s own path, but her memory of George as a movie legend — a star in any era — spurs her to act when the deposed king looks as though he might penetrate rock bottom. Bejo’s physicality in the role is otherworldly, from her flailing limbs in the dance sequences to her spectrum of expressions and reactions along her route to fame. Peppy is us, really, both a witness to the shift in the way we make, watch and enjoy movies as well as a partial observer to this great man’s demise. She aspires to his status, but without the craven, cutthroat agenda we resent in so many of today’s fame seekers. Yet she is also a leading lady in the classic tradition. Bejo’s respect for the greats reflects in her sly emulation of them, anchored in six months of research into everything from Janet Gaynor’s Oscar-winning silent work to Gloria Swanson’s autobiography. “What was important for me was that I had to find a way of being an American actress — which I’m not,” Bejo told viewers this morning at Lincoln Center. “I’m from Argentina, and I live in France. So, a lot of contradictions. But I watched Murnau and Borzage and […] my inspiration came from a lot of movies. Especially the young Joan Crawford, when she was 20, 25 years old. She was very crazy; she had a lot of freedom. She danced very well. I watched her dancing on the Internet, like, hundreds of times. Her legs are going there and there, and her arms… It was very cute and adorable, and I knew Peppy had to get this adorable thing [so] that men and women can relate to her and love her. You want her to become a star. So I had to find something very spontaneous with a lot of energy. I had to find the ‘peps’ of Peppy.” Also chief among Bejo’s inspirations was Marlene Dietrich. “Marlene had something very special where every time she came into the frame, she had something very intense without doing anything,” Bejo said. “She moved very slowly. The way she holds her cigarette, the way she moves, the way she winks… I looked for so many things. I Googled her! Again and again and again. That was the only thing I practiced: the wink and the whistle. And the tap dancing!” Which also paid off, Bejo said — to a point. “Then Michel was like, ‘Forget Joan, Marlene and Gloria, and just focus on you,’” she explained. “‘Try to find you and the way you want to be Peppy Miller.’ So after six months of working, watching and reading, I just focused on me, I guess.” The results speak for themselves. Well, they don’t speak, exactly, but you know what I mean. Drop back by Movieline this weekend for more about The Artist’s continued NY swing at the Hamptons International Film Festival.

Exclusive First Look: Grimm's Monsters Unmasked!

Silas Weir Mitchell Perpetrators of violent crimes have often been called monsters, but on NBC's new crime procedural Grimm, which premieres Friday, Oct. 28 at 9/8c, the criminals are monsters -- both literally and literarily. It turns out that Grimm's Fairy Tales isn't a work of fiction, but an account of supernatural creatures that the Grimm family has destroyed throughout history to keep humanity safe. Portland cop Nick Burckhardt (David Giuntoli) has just discovered he's the last of that line of hunters, who have a gift of spotting the true, monstrous nature underneath the creature's magically mundane facade. Fall TV: Get the lowdown on this season's must-see new shows Check out this first look at how the makeup and visual-effects departments create the monsters through practical and computer graphic techniques and how Giuntoli plays a prank on his co-star Russell Hornsby with a corpse. Good times. Grimm debuts on Friday, Oct. 28 at 9/8c on NBC. Will you tune in to Grimm? How do you like the twist on the usual crime procedural formula?

Whitney Houston Faces Off with Airline Personnel

Whitney Houston Whitney Houston refused to buckle her seatbelt onboard a Delta flight from Atlanta on Wednesday, People has confirmed.Photo gallery: Whitney Houston through the yearsThe 48-year-old Grammy winner "had words" with a crew member who asked the singer to fasten her seatbelt. After she was warned that she would be kicked off the Detroit-bound flight if she didn't comply, Houston eventually allowed a flight attendant to buckle her in.Check out more of today's news"She wasn't drunk, drinking or on drugs; she was just exhausted," a source told People.Houston has kept a low-profile of late, after reportedly extending her stay at a rehab facility in June.

Julianne Hough on the 'Footloose' Remake: 'We Didn't Mess This Up'

Julianne Hough is having quite a moment. In addition to co-starring in next summer's 'Rock of Ages' and Diablo Cody's directorial debut, the former 'Dancing With the Stars' professional pulls on the iconic pair of red cowboy boots for the 'Footloose' remake. Directed by Craig Brewer, Hough stars as Ariel, a small-town preacher's rebellious daughter -- a role first played by Lori Singer in 1984. Is she worried about backlash from fans of the beloved original? "We didn't mess this up," Hough told Moviefone. "Just go see it; there's so many skeptical people out there that have gone to see it already and we've changed their minds." Moviefone sat down with Hough in Los Angeles recently to discuss the new film, how the girls are going crazy for newcomer Kenny Wormald (in the role that Kevin Bacon made famous), and how she prepped for her big dramatic scene with movie-dad Dennis Quaid. How many times have you seen the original? Oh my gosh, probably over 50 times. Whether it's on TV, I just kind of flip through channels and if it's on, I'll always watch it. When this came along, did you go after the role or did they come to you? I was attached when Kenny Ortega was first directing, and he came to me when I was still on 'Dancing With the Stars' and asked, "Would you like to audition?" I was like, "Yeah! Totally." A lot of people don't know this, but I've wanted to act my whole life. That's what brought me out here. So I auditioned and I got it and then people started dropping out and there was a moment for me when I was like, "Maybe I don't want to do this," because it's not like the original -- it's a musical and I was thinking that a lot of the 'Footloose' fans from the original were going to be really upset. So, at first, I was a little apprehensive, but then they went a different direction. And then Craig Brewer signed on and I read his version and I was like, "Wow, okay, this is like the original and I get to show off more of the acting side and not so much the dancing." But then I found out he wanted to do his own cast and hire them and so I was like, "Oh crap!" So I had to go and convince him that I was Ariel. I read for him, very casually, and out in Nashville and he hired me that day. I'm so glad and so glad that this version was made. How important was staying faithful versus doing something new and original? I think we were really lucky that Paramount was doing it, since they did the original. We had two of the originals that produced it on our set every day. And then Craig Brewer, who calls himself a "Footloose-ologist." He saw it when he was 13 and thought this movie was literally made for him, so it holds a dear place in his heart. I kind of left that pressure to them and I just kind of felt like, I'm going to take this like how I feel this generation is going to look at this movie now and I did that. I really felt like I made Ariel my own and really tried to do some different things with her. You said that you haven't really done the kind of "booty-shaking" dancing you do in the drive-in scene. But you've done your share of booty-shaking on 'Dancing With the Stars.' Yeah, sure. (Laughs) But I always feel like it's more structured booty shaking. This was like, "Let's just make guys aroused," basically, kind of booty shaking. It was fun, though. It was in the middle of the night when we were shooting that scene. We were drinking coffee at 3 a.m., trying to stay awake. But it was fun, I liked it. I like challenging myself and doing different kinds of dance. I know you started dancing at a young age, but did you ever have those issues in your own family, where dancing or performing was frowned upon? Never that it wasn't right, but I grew up in Utah, which is very heavily Mormon and so when I would be wearing these sexy costumes as 7 years old and dancing sexy, it was a little bit like, "OK, tone down, Julianne." It was never, like, "Don't dance." But my family was really supportive of everything that I did. Did you have fun tapping into the rebellious side of your character? Yeah! People know me as this kind of good girl and it was fun to tap into someone who was a little bit of a brat. You got to wear the same red boots and the same prom dress as Lori Singer did in the original. The dress was a little modified, but it was pretty similar. My favorite were the boots, though. I would wear the boots now. What was your favorite dance scene to film? Probably the country line dance scene, because, it was just fun. My family was there, my mom and my three sisters were in the number and you can see them in the movie, so it's fun to share that with them. There wasn't a lot of choreography, it was just the line dance part was set and everything else was just like we were really in a club dancing. And then the 'Footloose' [prom] dance, which is so nostalgic. It was amazing. What was the part that got you the most out of your comfort zone? A lot of people see me as the happy-go-lucky, bright, positive Julianne, so just acting in general and showing a vulnerable side is kind of scary. And doing that scene in the church with Dennis [Quaid] was really emotional and no one's seen me do that. So it's a little scary, but I loved it. Usually I'm so strong but being vulnerable like that in front of everybody, in front of the world, it's exhilarating. When I'm scared to do something is when I should probably do it, is what i usually tell myself. It was fun. That was probably one of the most rewarding scenes for me, crying all day is exhausting, so you've got to really prepare yourself and focus and make sure you've got enough fluid in your body. This is probably the first thing most people have seen Kenny in. What are your predictions: is his career going to skyrocket from this? You never know, even when you're shooting the movie, you never know until you watch the movie with an audience in the theater. And we've been doing screenings around the country and literally the girls go crazy when he comes onscreen. And we'll do Q&As afterward and they'll scream when they see him walk out and ask questions like, "Can I get your number?" and it's cool. It's fun to be in the same world and watch that happen to somebody. What do you want to tell fans who are upset that there's a remake and are convinced it won't be any good? I always watch remakes and I'm like, "Ugh, that was terrible, they totally butchered that." But I can honestly say with pride that we did not mess this up. And it's great. I think that you don't see a lot of teen movies like the '80s teen movies nowadays, with messages basically telling kids, "Fight for what you believe in." Have you heard from anyone in the original cast? Not yet. None of them have seen the movie yet. Are you anxious to hear their reactions? Yeah. I hope that they like it and that we did them proud. But we feel like we really made our own movie with just a piece of the original. Have you ever figured our your connection, degree-wise to Kevin Bacon? I think it was something like three. I can't remember the person in between, but Andie MacDowell did a movie with somebody who did a movie with Kevin Bacon. [Actually, MacDowell pointed out to us that she did 'Beauty Shop' with Bacon, so that would be a two-degree connection for the rest of the cast of the new 'Footloose.'] What are you doing next? I just finished 'Rock of Ages,' which was really crazy. It was amazing, an amazing cast, obviously. I got to sing as well as dance and act in it and it was fun. It's all '80s rock songs that everybody knows and loves. Who are your most of your scenes with? Mostly with Tom [Cruise] and Mary J. Blige and Diego Boneta, who is the guy opposite me. What songs are you singing? 'Sister Christian,' 'Living in Paradise,' 'Rock You Like a Hurricane,' 'Shadows of the Night,' and 'Harden My Heart,' and 'Don't Stop Believin.' There's tons. [Photos: Getty, Paramount] 16 Upcoming Movie Remakes You can't seem to go a day without hearing about a new Hollywood remake. Ahead, a brief list of 16 films headed to theaters, again, in the near future. FootlooseWarGamesThe Wild BunchTop GunTotal RecallTeenage Mutant Ninja TurtlesShort CircuitRoboCopJudge DreddHighlanderThe CrowA Star is BornOldboyRed DawnPoint BreakDirty Dancing See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

A Dangerous Method: New Poster Online

Mortensen! Knightley! Fassbender!David Cronenberg's A Dangerous Way is screening within the BFILondonFilmFestival inside a couple of days and many types of-too-progressively approaching its February 10, 2012 release. But merely to keep you going meanwhile, this is a sneak try looking in the UKquad for your film, featuring the slicked-back hair of Viggo Mortensen, Keira Knightley and MichaelFassbender.It's all regulated controlled the story in the relationship betweenSigmund Freud (Mortensen) and Carl Jung (Fassnbender), and the way that changes when Jung's adherence to Freud's ideas are challenged by new patients Sabina (Knightley) and Otto Gross (Vincent Cassel). Click below to enlarge.Dangerous Method QuadTogether with Shame, it may result in the 2010 LFF a stylish crisis double bill for Fassbender, and a bit of the departure for Knightley, who certainly breaks from her usual roles here.

Joel Edgerton on Big Moments, The Thing Prequel, and Avoiding 'The Hollywood Trap'

Australian actor Joel Edgerton has been in the business for a good 15 years, during which time he’s transitioned from Aussie TV to supporting turns in international films (Kinky Boots, King Arthur, and Star Wars: Episode II — Revenge of the Sith) and wrote and co-starred in the solid Australian thriller The Square with brother Nash (who directed). But in 2011 — on the heels of his work in the underperforming but critically-loved Warrior, on the eve of his lead turn in Universal’s prequel The Thing — he seems poised, finally, for his moment in the spotlight. The thought inspires mixed feelings for Edgerton. On the one hand, a higher profile means he’s been able to land bigger roles, like Tom Buchanan in Baz Luhrmann’s upcoming adaptation of The Great Gatsby. On the other hand, he admits on the subject of fame vs. artistry, “You’ve got to be really careful that you’re not falling into the Hollywood trap.” Edgerton rang Movieline to discuss his career at large and his work in Matthijs van Heijningen Jr.’s The Thing, in which he plays tough-but-sensitive American pilot Braxton Carter, one of a group of scientific research camp members blindsided by a shape-shifting alien creature in isolated Antarctica three days prior to the events of John Carpenter’s 1982 sci-fi classic. You filmed Warrior in 2009 and The Thing in 2010, but both are hitting theaters around the same time so this feels like the perfect time to talk with you. Does it feel like you’ve been waiting for this moment, this year? I don’t know! I feel like I’ve been waiting for a moment all my life. And it’s funny; when the moment comes, it doesn’t really feel like a moment. I’ve been banging the drum for so long, I figure at some point it would all culminate into something, except that ironically it sort of feels like the opposite, in a way. I just keep doing my thing and try not to get swept up in it, because I think the moment I get swept up in it all, it can easily evaporate and come crashing down. You know, to me I think I’m just going to keep focused and forward on what I’m doing, work-wise, rather than searching for any kind of meaning in it. It’s always risky to remake a beloved film property. How were you first convinced that re-imagining John Carpenter’s The Thing was a good idea, and a worthy project for you to join? If you’re a fan of the Carpenter version — I’ve got quite a few buddies who, like me, are a fan of the ‘82 Carpenter version, and when I first found out about this idea and discussed it with them they were like, it’s such a cool idea — I can’t believe no one’s thought about that before! It does answer questions that fans of the original may have, cleverly fitting itself into the Carpenter version in ways. Yeah, it’s sort of like taking the seam and creating a new section of the garment, in a way. It’s this great mystery that’s sort of left unsolved and in the Carpenter version it kind of just sets up the power and craziness of that alien. And yet as these guys prove, it can open up to create a whole story of its own. I’m very glad they did. Given the fact that so many people are familiar with the original film, what did you find was the challenge in introducing a new character to the framework in which viewers are already primed not to trust anyone? It’s sort of interesting, because back in the day there was the whole kind of human paranoia, human vs. human, alien vs. human paranoia. It sort of seemed to have a real social relevance in the ’80s and I think that same social relevance is here today, which is this question of, ‘Who is who?’ Who are the villains in society? I guess it would have been Communism that was the parallel back in the ’80s, but now there’s terrorism and the question of who’s out to get who. I think that’s an interesting reason why this could be relatable, but I don’t think it’s worth bringing too much into the foreground because on one hand, it’s a piece of entertainment. It’s not supposed to be too heavy a social allegory. But I think there is a bit of relevance to it. Have you seen the finished film already? Yeah, yeah — I saw it a couple of months ago, but I think it would have been a near-finished version of it, without the completely finished sound and music. Visually the film is at times so expansive, and at times quite claustrophobic. Some of the sets were quite large and extensive. Was there an immersive quality to it? There was such a real care of attention to detail to get the sets to feel and match the whole Carpenter feeling, and in fact the film was pointed in that direction, to give a sense of style and aesthetic and design that kept in with the Carpenter film. Beyond that, I feel like at the same time the filmmakers were not going to deny the sort of scale we expect out of movies these days and the sort of excitement we expect from them. Also, the more modern technology. So it seemed like the whole time there was one eye on the ’80s and one eye on the current period, and trying to make both of those things work in the film’s favor. This is the most recent in a string of roles for you in which you play an American. Coming from Australia have you found this to be an interesting development in your career as you break into Hollywood — the cultivation of a variety of American accents and characters? Yeah, it is! I always sort of run home and do movies in Australia and I’ve found a number of productions over here. A number of earlier things that I did that came out of L.A. were films that I shot in the U.K., like Kinky Boots and King Arthur. So I felt like I was getting work out of here then running off to another country to shoot. But it’s great participating in these big American movies and I guess what comes with that is then taking on the responsibility of playing American characters. It’s funny, I get more and more comfortable with it but at the same time there’s a real responsibility to make sure you get it right. Same with Warrior, sort of trying to find a relatability to the working class — Pittsburgh, working class, a fighter. All of those elements. The accent is just one element. But there’s a real responsibility as an actor to make sure you get those things right. I find it a responsibility to myself, out of fear of being crucified. [Laughs] I don’t want to end up on one of those ‘Worst accents in film’ lists. Looking back on the transitions you’ve gone through in your career, do you feel you’ve had to become more careful in your choices of roles and projects in the last few years as your star has been on the rise? Yeah. I mean, I don’t know how it is for other actors but I assume it could be a similar course. When you first start out, or when I first started out, it was just work — do whatever you can. Get noticed, get people hiring you. The only way for you to show what you can do is to actually do. You can’t really be picky when no one is offering you anything. And then, if you’re lucky, things start to roll along. But even still, there were never millions of choices. It was all about finding the projects that I liked and tackling them to the ground. Convince directors that I was the right person for the job. When you don’t have a high profile, quite often you just can’t get the jobs that you want. So it’s a kind of lovely, fortunate position where I can work all the time and I have options of working on various things. And strangely enough, just when I thought it was going to get easier it’s still on some level a little tougher, because you’re always looking for that right project and you want the challenge. Sometimes it’s tougher because where it all really boils down is taking bigger paychecks to do less interesting work. And if you really see yourself as an artist or as an actor you like a challenge anyway. You’ve got to be really careful that you’re not falling into the Hollywood trap, you know? For me, it’s just like I have to remind myself of what keeps me going and what kind of challenges. It’s really about the process and not the result. One of the most unforgiving and upsetting and traumatic experiences is releasing a movie. Moreso than filming it, then? Yeah! I find it traumatic! I just want to make the things and it’d be great if I didn’t have to — I mean, I’m proud of the movies I make and I’m proud of the movies I do, but there’s something about talking about the process that can feel like it reduces the actual experience of the thing. When you’re in the trenches doing the work, that’s exciting. I guess when the movie gets released I’m just reminded of the sad aspect of the fact that it’s all just a business as well. What I really love, and this is probably also on the publicity side or the press side, is that so many of the journalists or the press who talk about movies are actually fans of movies. The fact that there are so many websites that are dedicated to movies, it seems to me the right people are talking about the movies because they’re the people who are interested in seeing good movies and are waiting for movies to come out and want the best from movies. That’s why, hopefully, we’re all in the business. On a semi-related note, you and your brother Nash broke out of the Australian film scene together with projects like The Square, and you wrote, directed, and starred in a short film called Monkeys. So on the one hand audiences see you in these increasingly high profile Hollywood films, but do you intend on keeping a foot in the independent world? Blue-Tongue Films is a big important thing for us, and it’s also a part of the reason why I’m doing what I’m doing on this bigger scale. I’ve kept my interests all the way along via the things that we write and the stories that we generate, and that’s so important to me. It’s important to me that we make Australian films and Australian product. Blue-Tongue will continue to make stuff there and start to open up things here in America. But being a writer has taught me a lot about being an actor, and being an actor has taught me a lot about being a writer. Reading a lot of screenplays in America has taught me more about being a writer. So I feel like the whole creative process, one thing feeds another. And it keeps me in love with what I do, which makes me just an all-around happier person. It feeds that back into the work. So it allows me to not get too easily cynical and gives me an outlet that I feel really happy about. It gives us something to be proud of. And it teaches me more about the whole process of moviemaking, which as an actor you’re sometimes a little guarded and shielded from the reality of.

Robert Downey Junior Eyes Perry Mason

He's creating a new star vehicle...Getting released two franchises with A Virtual Detective and Iron Guy, Robert Downey Junior is searching to help keep the legendary roles coming by creating a new movie in line with the Perry Mason character initially produced by novelist Erle Stanley Gardner. Warner Bros., that has created the Sherlock films, is associated with the Mason development, began once estate attorney Joe Horacek nabbed the privileges towards the character. Downey and co-producer David Gambino have develop a tale idea and have reached the entire process of getting a author to transform it into a script.As the character of Perry Mason is better recognized to audiences with the Raymond Burr-starring TV series, the legal bald eagle actual first stalked the courts in Gardner's books, the very first which was released in 1933. The writer continued to create 82 books and several short tales, which revolved around Mason, secretary Della Street, private agent Paul Drake and also the team's legal enemy, Hamilton Hamburger.Which will not be the very first time that Mason continues to be converted into another format, since a lot more than 3,257 instances of an invisible series were created from 1937 and Warners made six previous movies.Downey intends to return the smoothness to his nineteen thirties LA roots, that is hardly surprising because of the success he's had together with his other period character...

'Real Steel' expected to K.O. box office

'Real Steel''The Ides of March'DreamWorks' rock 'em sock 'em robot pic "Real Steel" won't have any trouble knocking out its competition at the weekend's domestic B.O. -- just how hard it'll hit is tough to predict, however.The consensus seems to put the film at around the mid-$20 millions, while fellow wide opener, Sony's George Clooney political drama "The Ides of March," is expected to range between $10 million and $14 million."Real Steel," which Disney launches today at 3,440 locations, including 270 in Imax, is tracking best with families and fanboys, the two most difficult demos to pigeonhole. Pics targeted to fanboys have seen a malaise in the market lately (consider pics like "Fright Night" and "Conan the Barbarian"). Family turnout, meanwhile, is notoriously hard to predict, since tykes aren't accounted for by tracking services.With "The Lion King" in 3D and "Dolphin Tale" performing exceptionally well, "Real Steel" could benefit from the market's family momentum.Warner Bros.' "Dolphin Tale" surged to No. 1 last weekend, during which "Lion King" dropped 52% in its third outing -- a nice-enough hold, considering Disney marketed the re-release as a two-week engagement. "Dolphin Tale" has cumed almost $40 million domestically; "Lion King," $81 million.Overseas, "Real Steel" could manage an upset over "The Smurfs."The film launches day-and-date in approximately 24% of the international market, including Australia, Mexico, Russia and Taiwan. "Smurfs," which has won overseas B.O. for eight straight weeks (last weekend it collected $10.7 million), narrowly beat "Abduction's" $10.1 million weekend gross.Limited Stateside releases include Emilio Estevez's Martin Sheen starrer "The Way," from Producers Distribution Agency, at 33 locations, while IFC's horror sequel "Human Centipede 2: Full Sequence" opens at 18 playdates and the Weinstein Co.'s 1980s-set Juno Temple starrer "Dirty Girl" at nine.With "Real Steel," Friday night screenings will be telling, since fanboys are often first-responders and will gauge how well the film plays to that demo overall. Disney isn't as concerned about the family aud reaction, since the studio screened the pic extensively, with families rating the film best."Real Steel" carries a relatively modest pricetag of $110 million after tax rebates, especially for a special effects-heavy tentpole.Clooney's "Ides of March," meanwhile, was fully financed by Cross Creek Pictures for a reported $12.5 million. Sony acquired U.S. rights to the film last November. Set during a presidential primary, with Ryan Gosling as the campaign manager to Clooney's candidate, pic should appeal to mostly over-25 audiences. Appeal for stars, including Evan Rachel Wood, could attract some younger moviegoers.Sony is using as a comp Clooney's "Michael Clayton," which earned $10.4 million during its first weekend in wide release in 2007. That film grossed $49 million domestically. Contact Andrew Stewart at andrew.stewart@variety.com

'Jesus Christ Superstar' Musical is Broadway-Bound

NEW You'll be able to (AP) What's the buzz? Popular output of "Jesus Celebrity" in Canada is coming initially from south to Broadway.Producers introduced Tuesday the rock musical in regards to the last occasions of Jesus put together by Andrew Lloyd Webber and Tim Grain will hit NY in the year, a move that was broadly expected.Previews will begin on March one in the Neil Simon Theatre plus an official opening is positioned for March 22. Des McAnuff, the artistic director in the Stratford Shakespeare Festival in Ontario, where the revival originated from this summer season, will again direct."I'm happy, and extremely, happy for that organization of stars because In my opinion they anticipated this could happen which i certainly haven't frustrated them from convinced that,Inch McAnuff mentioned by telephone from Italia.Playing the guitar- and keyboard-driven musical, which first demonstrated on Broadway in 1971, includes such tunes as "What's the Buzz?" ''Superstar" and "I am Unsure The best way to Love Him." The first production acquired five Tony Award nominations, including one for Ben Vereen, who carried out Judas. A film version was released in 1973.The musical dramatizes Jesus' entry into Jerusalem, the unrest triggered by his preaching and recognition, his disloyality by Judas, the trial before Pontius Pilate and also the ultimate crucifixion. It marked an early on collaboration between Lloyd Webber and Grain, who look at create "Ernest as well as the Amazing Technicolor Dreamcoat" and "Evita," that's going to Broadway in the year of 2012."Celebrity" was introduced becoming an album just before being staged on Broadway and McAnuff states his production is very faithful for the original recording. "We now have treated it a great deal a lot more like an opera when compared to a musical," he mentioned. The completely new production also teases the story's love triangular.The newest stage production opened up up within the Canadian festival in June and finishes its run there on November. 6 before moving for the La Jolla Playhouse in La Jolla, Calif., for final fine-tuning from November. 18 to 12 ,. 31 before its Broadway run.A number of other productions positioned on within the Stratford Festival have found their approach to Broadway, including 2002's "King Lear" with Christopher Plummer as well as the 2009 output of "The value of Being Serious," starring and directed by John Bedford.Though no casting was introduced for Broadway, McAnuff anticipates keeping together a lot of the cast he initially molded, including Chilina Kennedy as Mary Magdalene, Paul Nolan as Jesus, Josh Youthful as Judas Iscariot, Bruce Dow as King Herod, and Brent Carver as Pontius Pilate.Producers hope "Jesus Celebrity" will uncover a receptive Broadway audience that has already seen revivals of those seventies-era shows as "Hair" and "Godspell," which starts performances later this month. Furthermore, it taps into the religious-designed musicals that have selected Broadway "Sister Act" and "It of Mormon.""In my opinion there's exceptional expression, 'There's something in mid-air.A I suppose that is what it's," mentioned McAnuff, who was simply a teenager when he first saw "Hair" in Toronto. "That kind of anarchic method that went into creating albums and shows in people days is likely to be handling a kind of new respect."Copyright 2011 Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten, or redistributed.

Anderson Cooper's Daytime TV Show Posts Ratings Gain Amid Teen Tragedy

Despite a blast of bad publicity from a skate board accident that seriously injured a teen who was taping an episode for an upcoming segment on his new talk show, the ratings news for Anderson Cooper's new syndicated show was upbeat after its second week on the air. Anderson had a 1.4 national rating for week two (after Nielsen recalculated the rating for the first week), which made it the second biggest opening for a new talk show since Rachel Ray in 2006. Only Dr. Oz had a higher debut when he launched in 2009.our editor recommendsAnderson Cooper Chokes Up While Discussing Brother's Suicide on Daytime Talk Show (Video) Dr. Phil remained the top rated syndicated talk show in his second week of the new season with a solid 3.0 rating. That was down from his huge opening week but a strong 24% ahead of his performance this time one year ago. PHOTOS: The Most Talked-About TV News Faces Right Now Dr. Oz, who inherited the bulk of the Oprah time periods and stations, also had a strong second week. He had the second highest rated talk show with an impressive 3.0 rating, up from 2.9 in his first week back. Oz also shined with the key demographic group of women 25 to 54 years of age, pulling a 1.7 rating, which was better than even Dr. Phil, who had a 1.6 in the demo for week two. Ellen, who had her best premiere week last week, held on to her gains for a 2.3 rating in her second week. Regis & Kelly, in the final weeks of Regis Philbin's long run, was the third highest rated talk show with a 2.7 rating. That was up 13% from his audience size one year ago, and improved on a 2.5 rating last week. STORY: Anderson Cooper 'Saddened' By Teen Coma Tragedy Among off network shows newcomers Big Bang Theory and 30 Rock both had reason to giggle along with their growing audience. Big Bang was the fifth highest rated show in syndication with a 4.5, behind only top rated veterans Judge Judy, Wheel of Fortune, Two and a Half Men and Jeopardy. 30 Rock, which had less watched time periods in late night and other day parts outside the key access period leading into the local evening news, had a solid 1.4 rating in overall households. Most of the syndicated magazine shows had big gains for the week thanks to their coverage of the Emmy awards. Category leader Entertainment Tonight had a 3.7 rating, up 9% from the prior week. Inside Edition was up 3% to a 3.1, while Access Hollywood held steady with a 2.0 rating. They were followed by TMZ with a 1.9 (about even with the prior week) and The Insider with a 1.7 (up 13% over the prior week). STORY: Anderson Cooper's Daytime Talk Show Struck By Teen Coma Tragedy Rachel Ray's talker held up with a 1.5 overall rating. The news wasn't as exciting for two other new talk shows, among the 14 syndicated talkers now on the air. The Jeremy Kyle Show did a .05 rating, while We The People with Gloria Allred did a 0.4 rating for its first week on the charts. They did start with a disadvantage. While Anderson is cleared in 97% of the country, Kyle is in only 89% and Allred's show is in only 61% of the country. The good news for talk shows is that almost every one was up or at least even with its year ago performance. Related Topics Anderson Cooper Anderson

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20th pushes pay cut for 'Simpsons' cast

'The Simpsons'20th Century Fox Television laid down a hard line Tuesday in negotiations with voice actors on long-running Fox hit "The Simpsons," intimating the series won't continue if they don't accept a huge pay cut."We believe this brilliant series can and should continue, but we cannot produce future seasons under its current financial model," read a studio statement. "We are hopeful that we can reach an agreement with the voice cast that allows 'The Simpsons' to go on entertaining audiences with original episodes for many years to come."The Daily Beast first reported Monday that the six actors who provide voices for the show are balking at taking a 45% salary reduction that 20th is insisting on if "Simpsons" is to continue beyond its current 23rd season. Last week, the actors offered a counterproposal in which they would take a 30% cut in exchange of an unspecified portion of the series' massive back-end profits, which have long been a multibillion-dollar business News Corp given rich revenue streams pouring in from syndication to merchandise.The voice actors don't currently participate in "Simpsons'" back end. The cast includes Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria and Harry Shearer. Contact Andrew Wallenstein at andrew.wallenstein@variety.com

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