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Cellar victim Kampusch raped, starved in film of ordeal






VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.


Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.






Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.


The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.


The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.


One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”


The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.


GREY AREAS


Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”


The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.


Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.


In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”


The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.


“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.


“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”


The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.


“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.


The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.


The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.


The film goes on general release on Thursday.


(Reporting by Georgina Prodhan, Editing by Paul Casciato)


Movies News Headlines – Yahoo! News





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Cellar victim Kampusch raped, starved in film of ordeal






VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.


Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.






Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.


The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.


The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.


One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”


The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.


GREY AREAS


Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”


The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.


Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.


In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”


The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.


“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.


“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”


The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.


“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.


The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.


The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.


The film goes on general release on Thursday.


(Reporting by Georgina Prodhan, Editing by Paul Casciato)


Movies News Headlines – Yahoo! News





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Cellar victim Kampusch raped, starved in film of ordeal






VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.


Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.






Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.


The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.


The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.


One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”


The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.


GREY AREAS


Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”


The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.


Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.


In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”


The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.


“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.


“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”


The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.


“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.


The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.


The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.


The film goes on general release on Thursday.


(Reporting by Georgina Prodhan, Editing by Paul Casciato)


Movies News Headlines – Yahoo! News





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Cellar victim Kampusch raped, starved in film of ordeal






VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.


Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.






Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.


The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.


The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.


One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”


The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.


GREY AREAS


Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”


The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.


Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.


In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”


The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.


“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.


“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”


The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.


“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.


The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.


The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.


The film goes on general release on Thursday.


(Reporting by Georgina Prodhan, Editing by Paul Casciato)


Movies News Headlines – Yahoo! News





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Cellar victim Kampusch raped, starved in film of ordeal






VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.


Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.






Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.


The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.


The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.


One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”


The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.


GREY AREAS


Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”


The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.


Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.


In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”


The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.


“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.


“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”


The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.


“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.


The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.


The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.


The film goes on general release on Thursday.


(Reporting by Georgina Prodhan, Editing by Paul Casciato)


Movies News Headlines – Yahoo! News





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‘Argo’ wins best picture on scattered Oscar night






LOS ANGELES (AP) — Just as Oscar host Seth MacFarlane set his sights on a variety of targets with a mixture of hits and misses, the motion picture academy spread the gold around to a varied slate of films. “Argo” won best picture as expected, along with two other prizes. But “Life of Pi” won the most awards with four, including a surprise win for director Ang Lee.


“Les Miserables” also won three Academy Awards, while “Django Unchained” and “Skyfall” each took two.






Among the winners were the front-runners throughout this lengthy awards season: best actor Daniel Day-Lewis for his deeply immersed portrayal of Abraham Lincoln in Steven Spielberg‘s epic “Lincoln,” best actress Jennifer Lawrence as a troubled young widow in “Silver Linings Playbook” and supporting actress Anne Hathaway as the doomed prostitute Fantine in the musical “Les Miserables.” Christoph Waltz was a bit of a surprise for supporting actor as a charismatic bounty hunter in Quentin Tarantino‘s “Django Unchained,” an award he’d won just three years ago for Tarantino’s “Inglorious Basterds.”


The 22-year-old Lawrence, who got to show her lighter side in the oddball romance “Silver Linings Playbook” following serious roles in “Winter’s Bone” and “The Hunger Games,” gamely laughed at herself as she tripped on the stairs en route to the stage in her poufy, pale pink Dior Haute Couture gown. Backstage in the press room, when a reporter asked what she was thinking, she responded: “A bad word that I can’t say that starts with ‘F.’” Keeping journalists in hysterics, she explained, “I’m sorry. I did a shot before I … sorry.”


That’s the kind of raunchiness MacFarlane himself seemed to be aiming for as host while also balancing the more traditional demands of the job. There was a ton of singing and dancing during the three-and-half-hour broadcast — no surprise from the musically minded creator of the animated series “Family Guy” — including a poignant performance from Barbra Streisand of “The Way We Were,” written by the late Marvin Hamlisch, during the memorial montage. But MacFarlane also tried to keep the humor edgy with shots at Mel Gibson, George Clooney, Chris Brown and Rihanna.


An extended bit in which William Shatner came back from the future as his “Star Trek” character, Capt. James T. Kirk, had its moments while a joke about the drama “Flight” being restaged entirely with sock puppets was a scream. A John Wilkes Booth gag in reference to “Lincoln” was a bit of a groaner, perhaps intentionally, while MacFarlane relied on his alter ego, the cuddly teddy bear from his directorial debut “Ted,” to make a crack about a post-Oscar orgy at Jack Nicholson’s house. (MacFarlane already has indicated he’s one-and-done with Academy Awards hosting.)


But it was Day-Lewis who came up with the kind of pop-culture riffing that’s MacFarlane’s specialty. In accepting his record third best-actor award from presenter Meryl Streep, he deadpanned that before they’d swapped roles, he originally was set to play Margaret Thatcher “and Meryl was Steven’s first choice for ‘Lincoln,’ and I’d like to see that version.”


Besides best picture, “Argo” won for Chris Terrio’s adapted screenplay and for William Goldenberg’s film editing. Affleck famously (and strangely) wasn’t included in the best-director category for his thrilling and surprisingly funny depiction of a daring rescue during the 1979 Iranian hostage crisis. But as a producer on the film alongside George Clooney and Grant Heslov, he got to take home the top prize of the night.


“I never thought I’d be back here, and I am because of so many of you in this academy,” said Affleck, who shared a screenplay Oscar with pal Matt Damon 15 years earlier for their breakout film “Good Will Hunting.”


Among the wisdom he’s acquired since then: “You can’t hold grudges — it’s hard but you can’t hold grudges.”


Lee, who previously won best director in 2006 for “Brokeback Mountain” (which also didn’t win best picture), was typically low-key and self-deprecating in victory. His “Life of Pi” is a fable set in glorious 3-D, but Spielberg looked like the favorite for “Lincoln.” The film also won for its cinematography, original score and visual effects.


“Thank you, movie god,” the Taiwanese director said on stage. Later, he thanked his agents and said: “I have to do that,” with a little shrug and a smile.


“Les Miserables” also won for sound mixing and makeup and hairstyling. The other Oscar for “Django Unchained” came for Tarantino’s original screenplay. Asked about his international appeal backstage, Tarantino was enthusiastic as usual in saying: “I’m an American, and a filmmaker, but I make movies for the planet Earth.”


Speaking of global hits, the James Bond action thriller “Skyfall” won for its original song by the unstoppable Adele (with Paul Epworth). It also tied for sound editing with “Zero Dark Thirty,” the only win of the night for Kathryn Bigelow’s detailed saga about the hunt for Osama bin Laden.


Among the other winners, “Searching for Sugar Man,” about a forgotten musician’s rediscovery, took the prize for best documentary feature. Pixar’s fairy tale “Brave” won best animated feature.


One of the biggest moments of the night came at the end, as First Lady Michelle Obama announced the winner of the best picture prize. Backstage, Affleck described how surreal it was when he heard her say the word: “Argo.”


“I was sort of hallucinating when that was happening,” he explained. “In the course of a hallucination it doesn’t seem that odd: ‘Oh look, a purple elephant. Oh look, Michelle Obama.’”


___


Contact AP Movie Critic Christy Lemire through Twitter: http://twitter.com/christylemire


Entertainment News Headlines – Yahoo! News





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Relativity Moves ‘Turkeys’ Up a Year; Amy Poehler Joins Voice Cast (Exclusive)






NEW YORK (TheWrap.com) – Relativity Media has moved up its animated film “Turkeys” by a year and will release it November 1, multiple individuals close to the project told TheWrap. In addition, Amy Poehler has joined the voice cast for the film, which Relativity and Reel FX are co-producing and co-financing, TheWrap has learned.


The movie had been scheduled to debut November 14, 2014, but Relativity and Reel FX made the aggressive scheduling move based on early footage, according to two of those individuals. Development on the project began in June 2009 and physical production began in January 2011.






Poehler, who joins Owen Wilson and Woody Harrelson, will voice the female lead.


Executives at the studio met about the film this week, weighing the challenges the move will pose to the filmmaking, marketing, sponsorship and merchandising teams with the opportunity to seize this Thanksgiving’s family market.


DreamWorks Animation recently moved “Mr. Peabody & Sherman” from November 1 to March 2014, opening the door for kid-friendly fare before the November 22 opening of “The Hunger Games: Catching Fire.” Most of the other movies scheduled for October and November will cater to more mature audiences, spanning genres like science fiction (“Gravity,” “Ender’s Game”), horror (“Paranormal Activity 5,” “Carrie”) and action (“Malavita,” “Thor: The Dark World”).


Jeffrey Katzenberg‘s animation house has released a movie in the fall for eight of the last nine years, but its new distribution partner, Fox, moved “Peabody” to March, a month when the studio has had prior success with the “Ice Age” franchise.


DreamWorks Animation had a costly miss last November with “Rise of the Guardians,” which grossed $ 301 million at the box office – a healthy sum, but not enough to cover costs. The company is expected to take a hefty write-down as a result in its upcoming fourth quarter earnings.


Reel FX, the Dallas-based animation and visual effects studio behind “Turkeys,” actually sold “Guardians” to DWA five years ago.


“Turkeys” features the voices of Wilson and Harrelson as two spunky birds that take a time machine back to the first Thanksgiving. They want to expunge turkeys from Thanksgiving’s culinary tradition. Lesley Nicol of “Downton Abbey,” George Takei of “Star Trek” fame, Keith David and Colm Meaney have also been cast. Dan Fogler was already lending his voice.


Jimmy Hayward is directing the film from a script by Craig Mazin, David I. Stern, John J. Strauss.


Movies News Headlines – Yahoo! News




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“NCIS: LA” cameraman injured shooting spinoff episode






NEW YORK (TheWrap.com) – A cameraman for “NCIS: LA” was hospitalized with serious injuries after he was pinned while shooting an episode.


Production was shut down immediately after the accident Thursday night but was to resume Friday. The cameraman’s name was not released.






The accident comes two years after the death of a guard who was struck and killed by an out-of-control van during filming of an episode of “NCIS.” Police said the van’s 60-year-old driver suffered a medical condition and hit the security guard, who was 52.


The new episode being shot will serve as a backdoor pilot to a potential spinoff of “NCIS: LA,” which itself is a spinoff of “NCIS.”


The spinoff episode, produced by “NCIS” and “NCIS: LA” producer Shane Brennan, stars John Corbett and Kim Raver.


The accident is the third this year during production on a TV show. Two people were injured last month on the set of “Castle,” and three people were killed in a helicopter crash two weeks ago while shooting a reality show.


TV News Headlines – Yahoo! News





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Oscar animators ready to be taken seriously






BEVERLY HILLS, Calif. (AP) — In the animated feature film category at this year’s Oscars, there’s a film set in medieval Scotland, another that features old-school video game characters, one that relies heavily on dry British humor, while the other two take inspiration from the supernatural.


It’s not exactly kid stuff — and that’s how the directors like it.






“I think this year with these films — and so many more — the envelope for animation is being pushed,” said “Brave” director Mark Andrews at an Academy Awards event Thursday night honoring the animated feature film nominees. “We keep seeing more risky, deep films that we wouldn’t have seen 10 years ago coming out. I wanna be one of those guys pushing it more and more and more because it’s not only an awesome medium, but there’s so many more stories that we can tell.”


The Scotland-set “Brave,” a darker fable from Pixar about a rebellious red-headed princess named Merida, will face off against four other animated films at Sunday’s 85th annual Academy Awards. The category was first introduced at the 2002 ceremony, with “Shrek” winning the inaugural trophy.


Despite the less lighthearted tone of this year’s animated nominees, none cracked the best picture category for a spot alongside the likes of “Argo,” ”Lincoln” and “Zero Dark Thirty.” (Only three animated films have ever been nominated for best picture at the Oscars: “Beauty and the Beast,” ”Up” and “Toy Story 3.”)


“Edward Scissorhands” and “The Nightmare Before Christmas” mastermind Tim Burton could take home his first-ever Oscar at the Dolby Theatre ceremony for “Frankenweenie,” his black-and-white stop-motion film based on his 1984 live-action short film of the same name.


“Frankenweenie” is among three of the five Oscar nominated films this year that employ stop-motion, the intricate and time consuming animation method that use miniature sculptures and sets. Despite a strong stop-motion presence at this year’s Oscars, Burton cited finances, not the omnipresence of computer animation, as the reason that more stop-motion films aren’t produced.


“In the case of ‘Frankenweenie,’ it’s not like it was a studio wish-list to-do: ‘Let’s make black-and-white stop-motion animation,’” said Burton. “You hope it can survive. We all love it.”


The other stop-motion nominees are the English seafaring comedy “Pirates! Band of Misfits” from director Peter Lord and the undead tale “ParaNorman” from directors Sam Fell and Chris Butler.


“Wreck-It Ralph” director Rich Moore told the crowd at the motion picture academy’s Beverly Hills headquarters that he never envisioned the video game adventure from Disney as a musical, but “Book of Mormon” co-writer Robert Lopez and his wife Kristen Anderson-Lopez did create an original song for the film.


“It didn’t work, so it’s not in the movie,” said Moore. “That’s our process. We try lots of stuff. We throw it against the wall, and the stuff that sticks stays in the movie. It’s a very organic process making films like this.”


___


Follow AP Entertainment Writer Derrik J. Lang on Twitter at http://www.twitter.com/derrikjlang.


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Rapper Ja Rule set to leave NY prison in gun case






ALBANY, N.Y. (AP) — Platinum-selling rapper Ja Rule was set to leave an upstate prison on Thursday after serving most of his two-year sentence for illegal gun possession but head straight into federal custody in a tax case.


The rapper, who had been in protective custody at the Mid-State Correctional Facility because of his celebrity, has some time remaining on a 28-month sentence for tax evasion, correction officials said. His sentences were expected to run concurrently.






Ja Rule may have less than six months left and may be eligible for a halfway house, defense attorney Stacey Richman said. An order to pay $ 1.1 million in back taxes is one of the main reasons he wants to get back to work, she said.


“Many people are looking forward to experiencing his talent again,” Richman said.


Ja Rule scored a Grammy Award nomination in 2002 for the best rap album with “Pain is Love.” He also has appeared in movies, including “The Fast and the Furious” in 2001 and “Scary Movie 3″ in 2003.


Ja Rule, who went to the prison in Marcy in June 2011, is getting out at his earliest release date, state correction spokeswoman Linda Foglia said. He had two misbehavior reports for unauthorized phone calls in February 2012 and had work assignments on lawn and grounds crews and participated in education programs, she said.


In the gun case, New York City police said they found a loaded .40-caliber semiautomatic gun in a rear door of Ja Rule’s $ 250,000 luxury car after it was stopped for speeding, and he pleaded guilty in 2010.


He admitted in March 2011 in federal court that he failed to pay taxes on more than $ 3 million he earned between 2004 and 2006 while he lived in Saddle River, N.J.


“I in no way attempted to deceive the government or do anything illegal,” he told the judge. “I was a young man who made a lot of money — I’m getting a little choked up — I didn’t know how to deal with these finances, and I didn’t have people to guide me, so I made mistakes.”


Richman said the 36-year-old rapper, whose real name is Jeffrey Atkins, is looking forward to his daughter’s graduation.


“He’s a devoted father,” she said.


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A Minute With: Billy Crystal, former host of the Academy Awards






LOS ANGELES (Reuters) – Few people have more experience hosting the Academy Awards than actor Billy Crystal, who was the master of ceremonies for the movie industry’s highest honors for the ninth time last year.


As “Family Guy” creator Seth MacFarlane prepares to host the Oscars for the first time on Sunday, Crystal, 64, spoke to Reuters about his own experiences and offered some tips.






Q: What is the secret to being a good Oscar host?


A: “Anytime I’ve been asked by new hosts – Chris Rock called me, Jon Stewart called me – I always say the same thing: ‘Whatever your approach, the world is a rough room. And it’s a big room. Not everybody is going to like what you have to say. But when you’re up there, look like you want to be there. You’re the captain of show business that night. That’s your job.’”


Q: Is there a particular way to handle the audience?


A: “You’ve got the first five rows of people who are all nominated actors. They are really nervous. The women are in uncomfortable dresses. The men aren’t used to wearing tuxedos. For most of them, it’s the end of a really long awards season. The lights are bright, it’s usually really cold in there and there are cameras running everything to get reaction shots. So make them feel relaxed. And you have to be funny.”


Q: In those conditions, that sounds like a pretty tall order.


A: “It’s a really difficult job because it goes against everything you want to do as a performer and I always found that hard. As a performer who loves his job on stage, I don’t really like to see the audience, I like to feel them. So I try to encourage (new hosts) to understand that it’s not going to be what they’re used to.”


Q: Do you have a favorite year of all the ones you hosted?


A: “Definitely my first one (in 1990) because it was the first and it went really, really well. Then the one I almost didn’t do (in 1992) because I had pneumonia. I had a 104 temperature and was so sick. I came out as Hannibal Lecter in a mask and was wheeled out on a gurney and went out into the audience and talked to Anthony Hopkins. It was the year Jack Palance won for ‘City Slickers‘ and did the one-arm push-ups. That set me up for an evening of just running jokes about him.”


Q: Any mishaps that you recall needing to step in and save?


A: “At the (1992 ceremony) I introduced Hal Roach from the stage. It was his 100th birthday. He wasn’t supposed to speak, only wave. But he started speaking, holding himself up by the seat in front of him. You could barely hear him. It went on and on. You could feel people getting restless. Lines were racing through my head and I thought, ‘How do you get out of this?’”


Q: And how did you?


A: “I hit on a line and just looked at the audience and said: ‘It’s only fitting, he got his start in silent films!’ It got a big cheer. For me, I could look at that one little moment and say, ‘I was okay then. I was a good comedian that night.’”


Q: Did hosting the Oscars ever get old for you?


A: “If it ever gets old hat, you shouldn’t do it. The nervous part for me was when we had a good show, trying to top it the next year. It was putting that self-imposed pressure on myself. We were fortunate enough to have some good shows and some not as good as others.”


Q: Do you have one particular moment that will always stay with you?


A: “I came up with this idea of putting me in the nominated films. The last piece was ‘The English Patient‘ where I’m walking in the desert. David Letterman had a rough time (when he hosted the Oscars in 1995), so I said, ‘What if Letterman is in the plane and he’s coming after me because I’m hosting?’ So we did that and I thought, ‘What if I come through the screen?’ So they built a screen and I ran on film and then popped right through the screen and suddenly I was live (at the theater).”


Q: So was that your favorite moment?


A: “Here’s my singular favorite moment: My mother was in the audience that night. It was the only time she saw me host the Oscars in person. When I popped through the screen, she and I made eye contact. We just looked at each other … so that was the greatest moment.”


Q: Would you host again if asked?


A: “Today with social media, everybody who can press ‘send’ is a critic. There’s a lot of good ones, but the mean ones are really mean. If you have a thin skin for that it makes it hard … For me if the show is good, it’s expected. If it’s a bit off, you get creamed. And I don’t feel like getting creamed anymore.”


(Editing by Jill Serjeant, Patricia Reaney and Stacey Joyce)


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Romanian cinema triumphs again with top Berlin award






BERLIN (Reuters) – Romania claimed another major scalp on the European film festival circuit this weekend when “Child’s Pose” won the Golden Bear in Berlin, underlining the country’s emergence as a powerhouse of hard-hitting cinema in the post-Communist era.


The film, directed by Calin Peter Netzer, tells the story of Cornelia, an obsessive mother who uses every trick in the book to prevent her son from going to jail after he kills a boy in a car accident.






It is the latest in a long list of critical hits that have enjoyed startling success at festivals like Berlin and Cannes in recent years, helping to bring Romania‘s cinema to a wider audience.


Some of Romania‘s top directors, who have enjoyed the artistic freedom that flourished after the death of Communist dictator Nicolae Ceausescu in 1989, dismiss talk of a cinematic “new wave”, saying it lumps together very different styles and stories.


But ever since Cristi Puiu’s “The Death of Mr. Lazarescu” hit Cannes in 2005, and two years later his compatriot Cristian Mungiu won the coveted Palme d’Or there for the harrowing abortion drama “4 Months, 3 Weeks and 2 Days”, Romanian cinema has been firmly on the map.


“It is an acknowledgement, I think, that Romanian cinema is still producing good quality cinema and has been for a few years and it is a good endowment that it is still like this,” Netzer told Reuters after receiving the Golden Bear for best film.


UNFLINCHING STORYTELLING


While each film differs, there is a common thread of unflinching storytelling and compelling human drama often laid out against the backdrop of a cold and uncaring society.


Netzer said “Child’s Pose” was not a critique of Romania today, despite its unflattering portrayal of flashy materialism and casual corruption among the nouveau riche.


“I think basically this is about a relationship, a kind of pathological relationship between mother and son,” he told reporters in Berlin after the closing ceremony late on Saturday.


“The rest – the corruption, the framework, the context, all of that is on a separate level and is really only a backdrop.”


Victory in Berlin is likely to give the movie a major boost in terms of distribution in Romania and beyond, although some critics wondered whether the alienating figures of both mother and son might limit its appeal.


“There’s an instant bond the audience has with the two young women in ’4 Months…’ which we are deliberately not supposed to have in ‘Child’s Pose’,” said Jay Weissberg, critic at trade publication Variety.


“The mother is a monstrous figure and her son is even worse.”


However he, like many others, was impressed by Luminita Gheorghiu’s portrayal of Cornelia, one of several standout performances in Berlin-nominated films by mature actresses making the most of the kind of parts rarely written in Hollywood.


Paulina Garcia was the popular winner of the best actress Silver Bear for her turn in Chilean film “Gloria”, in which she plays a 58-year-old divorcee who sets out to live life to the full despite her setbacks.


“We all face crossroads in our lives where we can retreat into ourselves or we can hit the dance floor,” said “Gloria” director Sebastian Lelio of his character.


The biggest surprise at the Berlin awards ceremony was the best actor prize going to Nazif Mujic, a Bosnian Roma who had never acted before and had to be talked into playing himself in a drama based on his real-life ordeal.


“An Episode in the Life of an Iron Picker”, made for just 30,000 euros ($ 40,000), tells the story of how Bosnian hospitals refused to operate on his wife after she miscarried because she was not insured, despite the fact that her life was in danger.


Best director went to U.S. filmmaker David Gordon Green for his quirky road movie “Prince Avalanche” and Iranian entry “Closed Curtain” picked up the best script prize for directors Kamboziya Partovi and Jafar Panahi.


Panahi made the movie in secret in defiance of a 20-year filmmaking ban and was not allowed to travel to Berlin to collect his award.


“Tradition and culture remain, politicians come and go,” Partovi told reporters after receiving the honour.


(Reporting by Mike Collett-White; Editing by Andrew Heavens)


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Bulgari will showcase Elizabeth Taylor’s gems in Oscar-week exhibit






(Reuters) – Famed jeweler Bulgari said on Sunday it would put eight pieces of the late actress Elizabeth Taylor‘s jewels on display at its Beverly Hills boutique, more than a year after the Hollywood star’s world-class collection fetched record prices at auction.


The exhibition of pieces from that sale will include jewels Taylor obtained and wore during well-documented times in her storied life, including the filming of “Cleopatra,” which launched her romance with Richard Burton, Bulgari said.






Included are Taylor’s first piece of Bulgari jewelry, an emerald-and-diamond brooch which achieved a record per-carat price for any emerald at the Christie’s sale. The brooch sold for $ 6,578,500, setting a record price for an emerald jewel and emeralds per carat at $ 280,000.


An emerald and diamond necklace which sold at the Christie’s auction for $ 6.1 million, and a diamond and gold sautoir set with six ancient Roman coins acquired for $ 5.9 million, will also be shown along with other diamonds, sapphires and more.


The jewels, widely reported to have been bought from the Taylor estate by Bulgari at the December 2011 auction of her collection at Christie’s, will go on display this week in advance of next Sunday’s Academy Awards, Bulgari said.


“There couldn’t have been a more appropriate celebrity to have fallen in love with Bulgari,” it said in announcing the display.


Noting Taylor’s “grounded” nature in contrast to her impossibly glamorous life, it said Bulgari is known for creating jewels that pair precious stones with items of no intrinsic value such as antique coins, ceramics and silk cords.


Burton, whom Taylor married and divorced twice, once famously quipped that “The only Italian word Elizabeth knows is Bulgari.” The Italian luxury house was founded in 1884 in Rome by Greek Sotirios Voulgaris, known in Italy as Sotirio Bulgari.


It was acquired in 2011 for 4.3 billion euros ($ 6.01 billion) and other considerations by the French luxury house LVMH Moet Hennessy Louis Vuitton SA.


Taylor died in 2011 aged 79 of congestive heart failure. The Christie’s auction of her gems took in a record $ 116 million.


(Editing by Chris Michaud and Todd Eastham)


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Romanian film “Child’s Pose” wins Berlin Golden Bear






BERLIN (Reuters) – “Child’s Pose”, a Romanian drama about a domineering mother using her social position to try to save her son from jail, won the Golden Bear for best picture at the Berlin film festival on Saturday.


The movie, directed by Calin Peter Netzer and starring Luminita Gheorghiu in the central role, had been among the favorites for the coveted prize, which extends the remarkable success of Romanian filmmakers on the European festival circuit.






The awards ceremony brought to a close the 11-day cinema showcase, where hundreds of movies were screened across Berlin and stars including Matt Damon, Nicolas Cage, Anne Hathaway, Jude Law and Catherine Deneuve walked the red carpet.


In “Child’s Pose”, Gheorghiu shines as the wealthy 60-year-old Cornelia, who attempts to buy off the poor family of a boy killed by her son in a road accident.


The veteran actress also appeared in Cristian Mungiu’s “4 Months, 3 Weeks and 2 Days”, a grisly abortion drama that put Romanian cinema firmly on the international map when it won the Palme d’Or at the Cannes film festival in 2007.


“I’m still shell-shocked,” Netzer told reporters after the ceremony. “I haven’t quite woken up to this new reality. It will probably take a couple of days for it to sink in.”


The big surprise on the night was the best actor award for Nazif Mujic, a Bosnian Roma who had to be convinced to play himself in “An Episode in the Life of an Iron Picker” about his own experiences on the fringes of society.


The movie, a docu-drama directed by Danis Tanovic and made for 30,000 euros ($ 40,100), captured hearts in Berlin for its straightforward storytelling and moving account of the impoverished Mujic’s desperate attempts to pay for his wife’s emergency operation.


“FEELS LIKE NEIL ARMSTRONG”


Tanovic, an Oscar winner for his 2001 war movie “No Man’s Land”, read about the story in a local newspaper in 2011 and was so angry at Bosnian society’s apparent lack of humanity that he determined to make a film about it.


“I think he (Mujic) feels like Neil Armstrong when he went to the moon, seriously,” Tanovic said of his star. “And I really do hope it is going to change his life for the better.”


Arguably the most popular winner at the 63rd Berlin film festival was Paulina Garcia, the Chilean actress whose portrayal in “Gloria” of a 58-year-old divorcee in Santiago was the highlight for many festival-goers and won her best actress.


Refusing to retire quietly into the background, Gloria drinks, smokes, parties and enjoys sex, all the while holding down a full time job and keeping in touch with her children.


The powerful older woman was a constant theme throughout the main competition of 19 films eligible for prizes, and Garcia was up against Gheorghiu and French actresses Catherine Deneuve and Juliette Binoche for the acting Silver Bear.


Best director went to U.S. filmmaker David Gordon Green for his touching road movie “Prince Avalanche”, in which Paul Rudd and Emile Hirsch play a pair of misfits who go to work in a remote forest where they embark on a journey of self-discovery.


Iranian entry “Closed Curtain” picked up the best script prize for directors Kamboziya Partovi and Jafar Panahi. Panahi made the movie in secret in defiance of a 20-year filmmaking ban and was not allowed to travel to Berlin to collect his award.


“Tradition and culture remain, politicians come and go,” Partovi told reporters after receiving the honor.


Kazakh cinematographer Aziz Zhambakiyev was honored for outstanding artistic achievement for his painterly work on “Harmony Lessons”, set on the harsh steppes of Kazakhstan.


($ 1 = 0.7490 euros)


(Reporting by Mike Collett-White, editing by Paul Casciato)


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Judge sets May trial date for Kardashian divorce






LOS ANGELES (AP) — Kim Kardashian has a due date for her baby and now a trial date for her divorce from NBA player Kris Humphries.


A judge on Friday set a May 6 trial for the reality TV star who wants to end her marriage before July, when her child with Kanye West is due.






Kardashian filed for divorce on Oct. 31, 2011, after she and Humphries had been married just 72 days. Their lavish, star-studded nuptials were recorded and broadcast by E! Entertainment Television.


The trial is expected to last three to five days and could reveal details about Kardashian’s reality show empire, which includes “Keeping Up With the Kardashians” and several spinoffs.


Two judges determined Friday that Humphries’ lawyers had adequate time to prepare for the trial.


Humphries wants the marriage annulled based on his claim that Kardashian only married him for the sake of her show.


She denies that allegation and says the case should be resolved through what would be her second divorce.


Humphries’ attorney Marshall Waller asked for a delay until basketball season is over.


But Superior Court Judge Scott Gordon refused, saying firefighters, police officers, truck drivers and others have to miss work for trials, and Humphries must do the same if necessary.


Waller filed paperwork Thursday to withdraw from the case but didn’t mention that development in court and refused to answer any questions about the document on Friday.


Waller said he was still hoping to obtain and review 13,000 hours of footage from Kardashian’s reality shows to try to prove the fraud claim but noted he does not yet have an agreement to receive the footage.


Kardashian’s lawyer said her client was ready for trial.


“Let’s get this case dispensed with,” attorney Laura Wasser said.


Humphries has provided a deposition in the case, as have West and Kardashian family matriarch Kris Jenner.


___


Anthony McCartney can be reached at http://twitter.com/mccartneyAP


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Eric Church leads line-up for country music awards






NASHVILLE, Tennessee (Reuters) – Singer-songwriter Eric Church grabbed the lead in one of the biggest events in country music on Wednesday with seven nominations for the Academy of Country Music Awards while country-pop darling Taylor Swift received five nods.


Church, 35, was nominated as Male Vocalist of the Year and received his second consecutive nod for Album of the Year, this time for his widely acclaimed 2011 album “Chief”, in the 48th annual Academy of Country Music Awards.






He was also nominated for Single Record and Song of the Year for “Springsteen”, which became his second No. 1 single last year, and for Video of the Year for “Creepin’”.


Newcomer Hunter Hayes, 21, garnered six nominations, including New Male Vocalist of the Year and Video of the Year for “Wanted.” Hunter is new to the country scene, having released his self-titled debut album last year.


Country music favorites Swift and Miranda Lambert, 29, whose hits include “The House That Built Me and “Over You,” received five nominations each.


Swift received her fourth consecutive nomination for Entertainer of the Year. If she wins, it will be the 23-year-old singer’s third consecutive claim to that title which is decided by country fans’ voting.


Swift is also nominated for the sixth time for Female Vocalist of the Year and for the fourth time for Video of the Year for “We Are Never Ever Getting Back Together.”


Swift was ranked last year by Forbes as the second top-earning woman in music after bringing in an estimated $ 58 million from her album, endorsements and a perfume in the past year. She was beaten to top slot by Britney Spears.


Lambert’s country singer husband Blake Shelton and Luke Bryan will co-host the annual award ceremony in Las Vegas on April 7. Shelton has hosted the show for the past three years.


(Reporting by Vernell Hackett, Editing by Belinda Goldsmith)


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Music kingpin Jimmy Iovine: “Most tech companies are culturally inept”






NEW YORK (TheWrap.com) – Jimmy Iovine and Dr. Dre will launch a new paid subscription music service this summer branded under the successful Beats headphone brand, Iovine said on Tuesday.


Speaking at AllThingsD’s conference in Laguna Beach, the chairman of Interscope-Geffen-A&M sought to explain why his service will be better than the ones currently available. One reason? It’s being designed by creative people instead of geeks.






“Most technology companies are culturally inept,” Iovine said. “The way content companies never get tech right, never get culture right. They can hire anyone they want to sing in front of advertisements, but they never get curation right.”


Iovine then said that everyone offers the same service except for Apple, for which he reserved high praise. Steve Jobs was able to create a great service because he mirrored the current generation, boasting a background in both culture and technology.


However, this new Beats service will be “completely different” from iTunes, focusing on curating playlists for its users. Iovine spent a lot of time talking about how the order of songs matters, how Bruce Springsteen spent six months determining the eight-song order of “Born to Run.”


The Beats service customize what songs plays next for each user, relying on tastemakers like Nine Inch Nails leader turned composer Trent Reznor.


“My daughter plays Patsy Cline and Beyonce on the same playlist,” Iovine said. “We can’t just give them albums. They are telling us now. How loud do they have to scream it?”


Iovine, who helped launch both Eminem and Lady Gaga, has a vested interest in helping artists profit, too. While he seemed to praise Spotify, many musicians have complained that they do not get enough money from the service. Iovine said his service would enable artists to see who was listening to their music so they could get a better sense of their fan base.


Members of the audience thought that might raise privacy issues, but Iovine just flashed his smile and said he remained optimistic.


Beats bought music service MOG last summer and revealed in January that it is planning a new subscription service. Ian Rogers, former CEO of Topspin Media, will run the new service, code-named Daisy.


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Why Netflix has “no motivation” to release ratings for “House of Cards”






NEW YORK (TheWrap.com) – Netflix has ‘no motivation’ to disclose viewership numbers for its original shows regardless of their success, chief creative officer Ted Sarandos said on Tuesday. Speaking at AllThingsD’s conference in Laguna Beach, Sarandos both mocked Nielsen numbers and insisted that Netflix has no need to toot its own horn.


“I honestly have no motivation to do it,” Sarandos said of releasing numbers. “I don’t sell ads, so ratings don’t matter in that way.”






The question has surfaced repeatedly since Netflix released “House of Cards,” an expensive and well-received original show created by Beau Willimon and starring Kevin Spacey. While Sarandos said the show has been the most watched show on Netflix in every country where the service is available, he would not go much further.


Entertainment executives are particularly curious about the show’s performance to gauge Netflix’s foray into original programming and to compare its audience to that of shows on regular TV. Netflix will soon release other new series from successful Hollywood talent, including a new season of “Arrested Development.” The show’s creator Mitch Hurwitz and cast member Will Arnett joined Sarandos on stage during the session as well.


Sarandos gave several explanations for why Netflix has no reason to get into the numbers game. For one, they don’t sell advertisements against specific shows, so ratings have no impact on their bottom line. They don’t sell their shows to cable operators either, so they don’t need ratings to justify charging a certain fee. They make money from subscriptions and ratings have no impact on those numbers.


Netflix customers also watch the shows differently than they do normal television since they can watch them at any time on many devices. Sarandos said comparing Netflix ratings and TV ratings would be like apples and oranges.


When a reporter pressed Sarandos on the issue, he remarked that actors don’t believe in Nielsen numbers anyways. Arnett then commented that creative people just want to tell stories and welcome a new way of doing so.


When asked what he does when Spacey calls to ask about numbers, Sarandos replied, “I don’t tell him. I just tell him I’m thrilled.”


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Rhythm & Hues filing for bankruptcy after deal with Prime Focus collapses






LOS ANGELES (TheWrap.com) – Oscar-winning visual effects company Rhythm & Hues Studios will seek Chapter 11 bankruptcy protection, according to an individual with knowledge of the situation.


A deal for Indian-based Prime Focus to buy the Oscar-winning visual effects studio collapsed, forcing the company to file, the individual said.






The news comes as Rhythm & Hues is being honored for its artistry. The company is nominated for two Oscars for its effects work on “Snow White & The Huntsman” and “Life of Pi,” and won a British Academy of Film and Television Arts award last weekend for its contributions to the latter film.


Representatives for Rhythm & Hues and Prime Focus did not immediately respond to requests for comment.


There are still several suitors interested in buying Rhythm & Hues after it emerges from bankruptcy, the individual said.


Rhythm & Hues had hoped to avoid bankruptcy and had secured a $ 20 million bridge loan from three studios to keep it afloat until its sale to Prime Focus could be completed. The money would have been used to keep Rhythm & Hues running through April so it could finish its work on several major projects, including “The Hunger Games: Catching Fire,” “R.I.P.D.” and “Percy Jackson & the Sea of Monsters.” It is not certain how the loan will be affected.


Under that pact, Universal, Twentieth Century Fox and Warner Bros. planned to step in to float cash to the company, according to a different individual with knowledge of the deal. Though the studios were poised to lend the money, at least one of the them believed that it would be wiser for Rhythm & Hues to go through the bankruptcy process, the individual said.


Rhythm & Hues boasts more than 1,400 employees and has branches in India, Malaysia, Taiwan and Canada. It is headquartered in Los Angeles.


VFX Soldier, an effects industry blog that broke the news of the filing, reported that Rhythm & Hues has told employees that payroll is delayed.


Rhythm & Hues’ difficulties became grave after a major project canceled work with the company last year. The visual effects industry is a low-margin one, insiders tell TheWrap. It is also a business that has been hard-hit by runaway productions that have been lured away by lucrative film tax incentives offered by foreign and state governments.


Several effects shops have succumbed to financial difficulties in recent years, including Digital Domain, which filed for bankruptcy and was acquired by Galloping Horse America and Reliance Mediaworks last September.


Movies News Headlines – Yahoo! News





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Stars salute MusiCares honoree Bruce Springsteen






LOS ANGELES (AP) — Be it concert or charity auction, Bruce Springsteen can bring any event to a crescendo.


Springsteen briefly took over auctioneering duties before being honored as MusiCares person of the year Friday night, exhorting the crowd to bid on a signed Fender electric guitar by amping up the deal. The 63-year-old rock ‘n’ roll star moved the bid north from $ 60,000 by offering a series of sweeteners.






“That’s right, a one-hour guitar lesson with me,” Springsteen shouted. “And a ride in my Harley Davidson sidecar. So dig in, one-percenters.”


That moved the needle past $ 150,000. He added eight concert tickets and backstage passes with a bonus tour conducted by Springsteen himself. That pushed it to $ 200,000, but he wasn’t done.


“And a lasagna made by my mother!” he shouted as an in-house camera at the Los Angeles Convention Center cut to his 87-year-old mother Adele Ann Springsteen.


And with an extra $ 250,000 in the musicians charity’s coffers, Springsteen sat down and spent most of the evening in the unusual role of spectator as a string of stars that included Elton John, Neil Young, Sting, Kenny Chesney, John Legend, Faith Hill and Tim McGraw, Patti Smith, Jackson Browne took the stage two nights before the Grammy Awards.


“Here’s a little secret about Bruce Springsteen: He loves this,” host Jon Stewart joked. “There’s nothing he’d rather do than come to Los Angeles, put on a suit … and then have people talking about him like he’s dead.”


Alabama Shakes kicked things off with “Adam Raised A Cain” and over the course of the evening there were several interesting takes on Springsteen‘s voluminous 40-year catalog of hits. Natalie Manes, Ben Harper and Charlie Musselwhite played a stripped down “Atlantic City.” Mavis Staples and Zac Brown put a gospel spin on “My City of Ruins.” John added a funky backbeat to “Streets of Philadelphia.” Kenny Chesney offered an acoustic version of “One Step Up.”


Jim James and Tom Morello burned through a scorching version of “The Ghost of Tom Joad” that brought the crowd out of their seats as Morello finished the song with a fiery guitar solo. And Mumford & Sons took it the opposite way, playing a quiet, acoustic version of “I’m On Fire” in the round that had the crowd leaning in.


Legend offered a somber piano version of “Dancing in the Dark” and Young shut down the pre-Springsteen portion of the evening with a “Born in the USA” that included two sign-language interpreters dressed as cheerleaders signing along to the lyrics.


John Legend made me sound like Gershwin,” Springsteen said. “I love that. Neil Young made me sound like the Sex Pistols. I love that. What an evening.”


Springsteen spoke of the “miracle of music,” the importance of musicians in human culture and making sure everyone is cared for. And he joked that he somehow ended up being honored by MusiCares, a charity that offers financial assistance to musicians in need run by The Recording Academy, after his manager called up Grammys producer Ken Ehrlich to seek a performance slot on the show in a “mercenary publicity move.”


In the end, though, he was moved by the evening.


“It’s kind of a freaky experience, the whole thing,” Springsteen said. “This is the huge Italian wedding Patti (Scialfa) and I never had. It’s a huge Bar Mitzvah. I owe each and every one of you. You made me feel like the person of the year. Now give me that damn guitar.”


He asked the several thousand attendees to move toward the stage — “Come on, it’s only rock ‘n’ roll” — and kicked off his five-song set with his Grammy nominated song “We Take Care Of Our Own.” At the end of the night he brought everyone on stage for “Glory Days.”


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Online:


http://grammy.com


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Follow AP Music Writer Chris Talbott: http://twitter.com/Chris_Talbott.


Entertainment News Headlines – Yahoo! News





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