WB courting Tom Cruise for 'A Star is Born'

CruiseBeyonceWith execs buzzing about his performance as an 80s rock star in Warner Bros. and New Line's upcoming musical "Rock of Ages," Tom Cruise finds himself being courted by WB to topline Clint Eastwood's "A Star is Born" along with Beyonce. Cruise starts shooting Universal's untitled, Joseph Kosinski-directed sci-fi pic next week, and after wrapping production on that film, he's skedded to star in Doug Liman's "All You Need Is Kill" for Warners. While there haven't been any negotiations, let alone a deal, the studio has been talking to Cruise to gauge his interest in the project, a prospect that Cruise didn't immediately reject, given the chance to work with Eastwood for the first time. It's unclear whether WB would be willing to accommodate Cruise's schedule, but should he pursue the project, he'd play an over-the-hill musician who falls for a young singer who he's trying to help make a star. Over the past year, WB has eyed Christian Bale, Hugh Jackman and Leonardo DiCaprio for the plum part. Contact Jeff Sneider at jeff.sneider@variety.com

Basketball Ratings Go Lin-sane!

Charlie Sheen's return to television is imminent - his sitcom, Anger Management, will premiere at 9/8c on Thursday, June 28, FX announced Tuesday. Adding to the excitement/craziness, comedian Russell Brand's talk show, Strangely Uplifting, will debut the same night at 11/10c. Read More > Other Links From TVGuide.com Charlie SheenSelma BlairShawnee SmithRussell BrandLouieWilfred

'The Artist' and 'Hugo' Lead Academy Award Individuals who win

The Artist and Hugo introduced the 84th Annual Academy awards on Sunday with five wins each. While Hugo totalled up technical wins, The Artist introduced home honours to find the best picture, best actor, and finest director. Christopher Plummer, at 82, increased being the first actor to win an Academy Award. Upon locating the award, Plummer mentioned for the statuette "You're only couple of years older than me darling, where are you currently my existence?" Meryl Streep, Jean Dujardin, and former Back Stage author Octavia Spencer were honored with honours for performances too. The reveal, and host Billy Very, saved the evening classy and made to old Hollywood. Highlights incorporated Deposits signature musical number, a just what the audience thinks segment, a film-designed Cirque du Soleil performance, as well as the six-strong Bridesmaids ensemble showing together. Below can be a complete report on nominees and individuals who win. (Individuals who win are shown by getting an asterisk):Actor in the Leading RoleDemin Bichir in "A Far Greater Existence" George Clooney in "The Descendants"Jean Dujardin in "The Artist"*Gary Oldman in "Mess Tailor Soldier Spy"Kaira Pitt in "Moneyball"Actor in the Supporting RoleKenneth Branagh in "My Week with Marilyn" Jonah Hill in "Moneyball"Nick Nolte in "Warrior"Christopher Plummer in "Beginners"*Max von Sydow in "Very Noisy & Incredibly Close"Actress in the Leading RoleGlenn Close to the coast "Albert Nobbs"Viola Davis in "The AssistanceInchRooney Mara in "The Woman while using Dragon Tattoo"Meryl Streep in "The Iron Lady"*Michelle Williams in "My Week with Marilyn"Actress in the Supporting RoleBrnice Bejo in "The Artist"Jessica Chastain in "The AssistanceInchBethany McCarthy in "Bridesmaids"Jesse McTeer in "Albert Nobbs"Octavia Spencer in "The AssistanceInch-Cartoon Feature Film"The Kitty in Paris" Alain Gagnol and Jean-Loup Felicioli"Chico & Rita" Fernando Trueba and Javier Mariscal"Kung Fu Panda 2" Jennifer Yuh Nelson"Puss in Boots" Chris Burns "Rango" Gore Verbinski*Art Direction"The Artist" Production Design: Laurence Bennett Set Decoration: Robert Gould"Harry Potter as well as the Deathly Hallows Part 2" Production Design: Stuart Craig Set Decoration: Stephenie McMillan"Hugo" Production Design: Dante Ferretti Set Decoration: Francesca Lo Schiavo*"Evening amount of time in Paris" Production Design: Anne Seibel Set Decoration: Hlne Dubreuil"War Equine" Production Design: Ron Carter Set Decoration: Lee SandalesCinematography"The Artist" Guillaume Schiffman"The Woman while using Dragon Tattoo" Rob Cronenweth"Hugo" Robert Richardson*"The Tree of Existence" Emmanuel Lubezki"War Equine" Janusz KaminskiCostume Design"Anonymous" Lisy Christl"The Artist" Mark Bridges*"Hugo" Sandy Powell "Jane Eyre" Michael O'Connor"W.E." Arianne PhillipsDirecting"The Artist" Michel Hazanavicius*"The Descendants" Alexander Payne"Hugo" Martin Scorsese"Evening amount of time in Paris" Woodsy Allen"The Tree of Existence" Terrence MalickDocumentary (Feature)"Hell and AgainInch Danfung Dennis and Mike Lerner"In case your Tree Falls: An Account around the globe Liberation Front" Marshall Curry and Mike Cullman"Paradise Lost 3: Purgatory" Joe Berlinger and Bruce Sinofsky"Pina" Wim Wenders and Gian-Piero Ringel"Undefeated" TJ Martin, Serta Lindsay and Richard Middlemas*Documentary (Short Subject)"The Barber of Birmingham: Ft Soldier in the Civil Rights Movement" Robin Fryday and Gail Dolgin"God Might be the larger Elvis" Rebecca Cammisa and Julie Anderson"Incident in New Baghdad" James Spione"Saving Face" Daniel Junge and Sharmeen Obaid-Chinoy*"The Tsunami as well as the Cherry Blossom" Lucy Master and Kira CarstensenFilm Editing"The Artist" Anne-Sophie Bion and Michel Hazanavicius"The Descendants" Kevin Tent"The Woman while using Dragon Tattoo" Kirk Baxter and Angus Wall*"Hugo" Thelma Schoonmaker"Moneyball" Christopher TellefsenForeign Language Film"Bullhead" Belgium"Footnote" Israel"In Darkness" Belgium"Monsieur Lazhar" Canada"A Separation" Iran*Makeup"Albert Nobbs"Martial Corneville, Lynn Johnston and Matthew W. Mungle"Harry Potter as well as the Deathly Hallows Part 2" Nick Dudman, Amanda Dark evening and Lisa Tomblin"The Iron Lady" Mark Coulier and J. Roy Helland*Music (Original Score)"The Adventures of Tintin" John Williams "The Artist" Ludovic Bource*"Hugo" Howard Shoreline"Mess Tailor Soldier Spy" Alberto Iglesias"War Equine" John WilliamsMusic (Original Song)"Guy or Muppet" from "The Muppets" Music and Lyric by Bret McKenzie*"Real in Rio" from "Rio" Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah GarrettBest Picture"The Artist" Thomas Langmann, Producer*"The Descendants" Jim Burke, Alexander Payne and Jim Taylor, Producers"Very Noisy & Incredibly Close" Scott Rudin, Producer"The AssistanceInch Brunson Eco-friendly, Chris Columbus and Michael Barnathan, Producers"Hugo" Graham King and Martin Scorsese, Producers"Evening amount of time in Paris" Letty Aronson and Stephen Tenenbaum, Producers"Moneyball" Michael P Luca, Rachael Horovitz and Kaira Pitt, Producers"The Tree of Existence" Nominees being determined"War Equine" Steven Spielberg and Kathleen Kennedy, ProducersShort Film (Animated)"Dimanche/Sunday" Patrick Doyon"The Truly Amazing Flying Books of Mr. Morris Lessmore" William Joyce and Brandon Oldenburg*"La Luna" Enrico Casarosa "A Morning Stroll" Grant Orchard and Sue Goffe"Wild Existence" Amanda Forbis and Wendy TilbyShort Film (Live Action)"Pentecost" Peter McDonald and Eimear O'Kane"Raju" Max Zhle and Stefan Gieren"The Shoreline" Terry George and Oorlagh George*"Time Freak" Andrew Bowler and Gigi Causey"Tuba Atlantic" Hallvar WitzSound Editing"Drive" Lon Bender and Victor Ray Ennis"The Woman while using Dragon Tattoo" Ren Klyce"Hugo" Philip Stockton and Eugene Gearty*"Transformers: Dark in the Moon" Ethan Van der Ryn and Erik Aadahl"War Equine" Richard Hymns and Gary RydstromSound Mixing"The Woman while using Dragon Tattoo" David Parker, Michael Semanick, Ren Klyce andBo Persson"Hugo" Tom Fleischman and John Midgley*"Moneyball" N Adair, Ron Bochar, Dork Giammarco and Erection dysfunction Novick"Transformers: Dark in the Moon" Greg P. Russell, Gary Summer time season, Jeffrey J. Haboush and Peter J. Devlin"War Equine" Gary Rydstrom, Andy Nelson, Tom Manley and Stuart WilsonVisual Effects"Harry Potter as well as the Deathly Hallows Part 2" Tim Burke, David Vickery, Greg Butler andJohn Richardson "Hugo" Make the most of Legato, Joss Williams, Ben Grossman andAlex Henning*"Real Steel" Erik Nash, John Rosengrant, Serta Taylor andSwen Gillberg"Rise in the Planet in the Apes" Joe Letteri, Serta Lemmon, R. Christopher White-colored and Daniel Barrett"Transformers: Dark in the Moon" Scott Farrar, Scott Benza, Matthew Butler and John FrazierWriting (Modified Script)"The Descendants" Script by Alexander Payne and Nat Faxon & Jim Rash*"Hugo" Script by John Logan"The Ides of March" Script by George Clooney & Grant Heslov and Love Willimon"Moneyball" Script by Steven Zaillian and Aaron Sorkin Story by Stan Chervin"Mess Tailor Soldier Spy" Script by Bridget O'Connor & Peter StraughanWriting (Original Script)"The Artist" Put together by Michel Hazanavicius"Bridesmaids" Put together by Annie Mumolo & Kristen Wiig"Margin Call" Put together by J.C. Chandor"Evening amount of time in Paris" Put together by Woodsy Allen*"A Separation" Put together by Asghar Farhadi By Jessica Gardner February 27, 2012 "The Artist" PHOTO CREDIT The Weinstein Company The Artist and Hugo introduced the 84th Annual Academy awards on Sunday with five wins each. While Hugo totalled up technical wins, The Artist introduced home honours to find the best picture, , and greatest director. Christopher Plummer, at 82, increased being the first actor to win an Academy Award. Upon locating the award, Plummer mentioned for the statuette "You're only couple of years older than me darling, where are you currently presently my existence?" Meryl Streep, Jean Dujardin, and former Back Stage author Octavia Spencer were honored with honours for performances too. The reveal, and host Billy Very, saved the evening classy and made to old Hollywood. Highlights incorporated Deposits signature musical number, a just what the audience thinks segment, a movie-designed Cirque du Soleil performance, as well as the six-strong Bridesmaids ensemble showing together. Below can be a complete report on nominees and individuals who win. (Individuals who win are shown by getting an asterisk):Actor in the Leading RoleDemin Bichir in "A Far Greater Existence" George Clooney in "The Descendants"Jean Dujardin in "The Artist"*Gary Oldman in "Mess Tailor Soldier Spy"Kaira Pitt in "Moneyball"Actor in the Supporting RoleKenneth Branagh in "My Week with Marilyn" Jonah Hill in "Moneyball"Nick Nolte in "Warrior"Christopher Plummer in "Beginners"*Max von Sydow in "Very Noisy & Incredibly Close"Actress in the Leading RoleGlenn Close to the coast "Albert Nobbs"Viola Davis in "The AssistanceInchRooney Mara in "The Woman while using Dragon Tattoo"Meryl Streep in "The Iron Lady"*Michelle Williams in "My Week with Marilyn"Actress in the Supporting RoleBrnice Bejo in "The Artist"Jessica Chastain in "The AssistanceInchBethany McCarthy in "Bridesmaids"Jesse McTeer in "Albert Nobbs"Octavia Spencer in "The AssistanceInch-Cartoon Feature Film"The Kitty in Paris" Alain Gagnol and Jean-Loup Felicioli"Chico & Rita" Fernando Trueba and Javier Mariscal"Kung Fu Panda 2" Jennifer Yuh Nelson"Puss in Boots" Chris Burns "Rango" Gore Verbinski*Art Direction"The Artist" Production Design: Laurence Bennett Set Decoration: Robert Gould"Harry Potter as well as the Deathly Hallows Part 2" Production Design: Stuart Craig Set Decoration: Stephenie McMillan"Hugo" Production Design: Dante Ferretti Set Decoration: Francesca Lo Schiavo*"Evening amount of time in Paris" Production Design: Anne Seibel Set Decoration: Hlne Dubreuil"War Equine" Production Design: Ron Carter Set Decoration: Lee SandalesCinematography"The Artist" Guillaume Schiffman"The Woman while using Dragon Tattoo" Rob Cronenweth"Hugo" Robert Richardson*"The Tree of Existence" Emmanuel Lubezki"War Equine" Janusz KaminskiCostume Design"Anonymous" Lisy Christl"The Artist" Mark Bridges*"Hugo" Sandy Powell "Jane Eyre" Michael O'Connor"W.E." Arianne PhillipsDirecting"The Artist" Michel Hazanavicius*"The Descendants" Alexander Payne"Hugo" Martin Scorsese"Evening amount of time in Paris" Woodsy Allen"The Tree of Existence" Terrence MalickDocumentary (Feature)"Hell and AgainInch Danfung Dennis and Mike Lerner"In case your Tree Falls: An Account around the globe Liberation Front" Marshall Curry and Mike Cullman"Paradise Lost 3: Purgatory" Joe Berlinger and Bruce Sinofsky"Pina" Wim Wenders and Gian-Piero Ringel"Undefeated" TJ Martin, Serta Lindsay and Richard Middlemas*Documentary (Short Subject)"The Barber of Birmingham: Ft Soldier in the Civil Rights Movement" Robin Fryday and Gail Dolgin"God Might be the larger Elvis" Rebecca Cammisa and Julie Anderson"Incident in New Baghdad" James Spione"Saving Face" Daniel Junge and Sharmeen Obaid-Chinoy*"The Tsunami as well as the Cherry Blossom" Lucy Master and Kira CarstensenFilm Editing"The Artist" Anne-Sophie Bion and Michel Hazanavicius"The Descendants" Kevin Tent"The Woman while using Dragon Tattoo" Kirk Baxter and Angus Wall*"Hugo" Thelma Schoonmaker"Moneyball" Christopher TellefsenForeign Language Film"Bullhead" Belgium"Footnote" Israel"In Darkness" Belgium"Monsieur Lazhar" Canada"A Separation" Iran*Makeup"Albert Nobbs"Martial Corneville, Lynn Johnston and Matthew W. Mungle"Harry Potter as well as the Deathly Hallows Part 2" Nick Dudman, Amanda Dark evening and Lisa Tomblin"The Iron Lady" Mark Coulier and J. Roy Helland*Music (Original Score)"The Adventures of Tintin" John Williams "The Artist" Ludovic Bource*"Hugo" Howard Shoreline"Mess Tailor Soldier Spy" Alberto Iglesias"War Equine" John WilliamsMusic (Original Song)"Guy or Muppet" from "The Muppets" Music and Lyric by Bret McKenzie*"Real in Rio" from "Rio" Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah GarrettBest Picture"The Artist" Thomas Langmann, Producer*"The Descendants" Jim Burke, Alexander Payne and Jim Taylor, Producers"Very Noisy & Incredibly Close" Scott Rudin, Producer"The AssistanceInch Brunson Eco-friendly, Chris Columbus and Michael Barnathan, Producers"Hugo" Graham King and Martin Scorsese, Producers"Evening amount of time in Paris" Letty Aronson and Stephen Tenenbaum, Producers"Moneyball" Michael P Luca, Rachael Horovitz and Kaira Pitt, Producers"The Tree of Existence" Nominees being determined"War Equine" Steven Spielberg and Kathleen Kennedy, ProducersShort Film (Animated)"Dimanche/Sunday" Patrick Doyon"The Truly Amazing Flying Books of Mr. Morris Lessmore" William Joyce and Brandon Oldenburg*"La Luna" Enrico Casarosa "A Morning Stroll" Grant Orchard and Sue Goffe"Wild Existence" Amanda Forbis and Wendy TilbyShort Film (Live Action)"Pentecost" Peter McDonald and Eimear O'Kane"Raju" Max Zhle and Stefan Gieren"The Shoreline" Terry George and Oorlagh George*"Time Freak" Andrew Bowler and Gigi Causey"Tuba Atlantic" Hallvar WitzSound Editing"Drive" Lon Bender and Victor Ray Ennis"The Woman while using Dragon Tattoo" Ren Klyce"Hugo" Philip Stockton and Eugene Gearty*"Transformers: Dark in the Moon" Ethan Van der Ryn and Erik Aadahl"War Equine" Richard Hymns and Gary RydstromSound Mixing"The Woman while using Dragon Tattoo" David Parker, Michael Semanick, Ren Klyce andBo Persson"Hugo" Tom Fleischman and John Midgley*"Moneyball" N Adair, Ron Bochar, Dork Giammarco and Erection dysfunction Novick"Transformers: Dark in the Moon" Greg P. Russell, Gary Summer time season, Jeffrey J. Haboush and Peter J. Devlin"War Equine" Gary Rydstrom, Andy Nelson, Tom Manley and Stuart WilsonVisual Effects"Harry Potter as well as the Deathly Hallows Part 2" Tim Burke, David Vickery, Greg Butler andJohn Richardson "Hugo" Make the most of Legato, Joss Williams, Ben Grossman andAlex Henning*"Real Steel" Erik Nash, John Rosengrant, Serta Taylor andSwen Gillberg"Rise in the Planet in the Apes" Joe Letteri, Serta Lemmon, R. Christopher White-colored and Daniel Barrett"Transformers: Dark in the Moon" Scott Farrar, Scott Benza, Matthew Butler and John FrazierWriting (Modified Script)"The Descendants" Script by Alexander Payne and Nat Faxon & Jim Rash*"Hugo" Script by John Logan"The Ides of March" Script by George Clooney & Grant Heslov and Love Willimon"Moneyball" Script by Steven Zaillian and Aaron Sorkin Story by Stan Chervin"Mess Tailor Soldier Spy" Script by Bridget O'Connor & Peter StraughanWriting (Original Script)"The Artist" Put together by Michel Hazanavicius"Bridesmaids" Put together by Annie Mumolo & Kristen Wiig"Margin Call" Put together by J.C. Chandor"Evening amount of time in Paris" Put together by Woodsy Allen*"A Separation" Put together by Asghar Farhadi

Pilot Season: Bryan Greenberg Lands Lead in CBS Comedy Pilot

Downton Abbey Critically acclaimed British drama Downton Abbey will switch into the Best Drama Series category for next year's Emmys, according to Gold Derby.The show had previously competed in (and won) the Best Miniseries category, but critics claimed the decision to compete as a miniseries was simply an effort to avoid fierce drama nominees like Mad Men, which this year will be competing for a record fifth straight win in the Best Drama Series category. With Downton joining the mix among other critical darlings Boardwalk Empire, Homeland and Breaking Bad, the category could be a fierce competition.Downton Abbey finale earns biggest PBS ratings in three yearsThe British import's season 2 finale, which aired Feb. 19, averaged 5.4 million total viewers, and posted PBS' biggest audience in nearly three years. It was the network's most-watched program since the 2009 premiere of Ken Burns' National Parks and was also more than double the average prime-time PBS viewership.

Veteran Actors Recall the Joys and Challenges of Summer Theater

Veteran Actors Recall the Joys and Challenges of Summer Theater By Simi Horwitz February 22, 2012 Photo by Don Most Don Most Recounting his experiences in summer stock, Conrad John Schuck is almost elegiac.His memories evoke images right out of a Judy GarlandMickey Rooney film in which the kids decide to put on a show in a barn. The living conditions were rugged, the money negligible at best, but boy did they have fun. Ten shows in 11 weeks and the opportunity to tackle a range of roles they wouldn't have the chance to play for another 30 years. And, man, were there charactersfrom eccentric directors to the summer-stock entrepreneurs, who ran their companies like little fiefdoms and always dressed the part. One was clad in a tuxedo, while another toted "what looked like a 4-foot cigar." Schuck also remembers a borderline-psychotic actor who was off her meds and appeared in the producer's office stark naked, proclaiming that she was a Blackfoot Indian princess. (Conrad John Schuck) A veteran actor whose credits include Broadway, film, and television, Schuck has little doubt that summer stock played a major role in his career. Though Schuck still performs in summer theater productions, the early years had the most lasting impact.His first experience was at the Denison University Theatre in Granville, Ohio, an on-campus theater providing students with the chance to try their hand at everything from musicals to classics. Occasionally guest actors were brought in, but for the most part the cast was exclusively college kids. Besides acting they also worked on the crew, mastering the fundamentals of sets, costumes, and props. By the time Schuck graduated from Denison University with a theater major, he knew something about the way a theater functioned, had performed in 50 to 60 shows, and was competitive in the professional world, he says. "In the summer theater we learned to do homework, be on time, have manners, and not be afraid to ask questions," he says. "It was a great primer."But most relevant, he earned his Equity card. He describes starring as El Gallo in a production of "The Fantasticks" at Denison, where K. Elmo Lowe, the managing director of the Cleveland Play House, saw him perform. Lowe was so impressed, he invited Schuck to repeat the role in Cleveland and become a member of the company for the 196263 season. In the interim, Schuck played Walt Dreary in "The Threepenny Opera" at the Woodstock Playhouse in upstate NY. When that production was extended two weeks, Schuck had the moxie to say he'd stay if he got his Equity card, and his strategy worked. By the time he arrived in Cleveland, "I was an Equity member," he recalls, laughing. "My salary was bumped up to $62.50 a week."Later, as a young professional he performed for three summers at the Cleveland Musicarnival, where he learned projection, among other skills. Housed in a tent, the theater-in-the-round sat 2,000, he recalls. In another summer-stock stint, he toured for 10 weeks throughout the Northeast and Chicago with the great comic Imogene Coca in Howard Teichman's "A Rainy Day in Newark." Since that time, he has gone on to appear in a host of films, including Robert Altman's "MASH," "Brewster McCloud," and "McCabe & Mrs. Miller," as well as in recurring roles on TV, from "Law & Order: Special Victims Unit" to "St. Elsewhere" all the way back to "McMillan & Wife," starring Rock Hudson. On Broadway, he has starred as Daddy Warbucks in "Annie" and Buffalo Bill in "Annie Get Your Gun." Learning Curve (Lee Roy Reams) The Tony-nominated Lee Roy Reams, who has appeared in 10 Broadway musicals and dozens of regional productions, also recalls receiving his Equity card at an early age, compliments of summer stock. Indeed, he was between his freshman and sophomore years at the University of Cincinnati's College-Conservatory of Music when he performed with the James Alex Summer Theatre in Dayton, Ohio, thus scoring his union membership. Like Schuck, Reams valued summer stock for offering him the chance to appear in many productions, viewing the quick turnover as training him to think fast on his feet. He also gained an appreciation of all the roles played by onstage and backstage personnel. "You lived theater," he says. "And there was that wonderful camaraderie."The high point for Reams was the opportunity to meet and mingle with the stars who were routinely brought in to the productions. He worked with such mega-talents as Dorothy Dandridge, Dorothy Collins, Rita Moreno, Jane Powell, and Patricia Morrison, among others. The glitz and glamour aside, they offered object lessons in professionalism, he says. By example, they taught the value of a solid work ethic and were also a wealth of information about the NY stage. Reams continues to perform in summer theaters, most recently at MUNY in St. Louis, where he and Schuck played the comic gangsters in "Kiss Me, Kate."Don Most came to summer stock later in life. His first encounter occurred when he was already an established actor, best known for his nine-year gig as the merry prankster Ralph Malph in the hit sitcom "Happy Days." Indeed, in 1978 when he performed at Lakewood Theater in Madison, Maine, he had been entering America's living room for four years. Still, he was starstruck by the theater's storied history. It is one of the oldest in America, and "everyone from silent screen stars to Broadway stars performed there," he says, impressed even in retrospect. "I appeared in 'Barefoot in the Park' with Maureen O'Sullivan. It was a wonderful, idyllic experience. It was a theater on a lake with a diner across the street. We'd go there before the show, and after the show we'd go to a nightclub. We were living in cabins in the woods." Most tackled summer theater two more times, including a stint at the Westport Country Playhouse in Westport, Conn., appearing in a production of David Wiltse's "Doubles" that co-starred George Maharis and David Groh.Interestingly, summer stock was Most's first professional stage experience, though in many ways performing in a weekly sitcom in front of a live studio audience was similar, he says. But stock offered him the chance to play roles he never would have landed. It also served as a welcome relief from the grind of TV during his hiatus. In the years that have passed, Most has branched out into directing indie films, though he never regrets his summer-stock experience. He continues to believe theater is the purest form of acting.Then and Now The three actors agree that the heady experience they enjoyed may not be as intense today. When they were launching careers, acting conservatories and professional theater training at the college level was not as commonplace or all-encompassing as it is today. In many ways, summer stock filled that gap. By contrast, young actors today may start out with lots of training to their credit. Nevertheless, our veteran actors maintain that the stock experience is still invaluable if you come to it with a receptive mind. Reams is concerned that unlike his cohorts, who viewed themselves as innocents when they entered summer stock, some current newbie actors believe they're already professional and have all the answers. Further, they're thinking about monetary gain and their futures as television stars, all of which is counterproductive."You never know who you'll meet or how you'll grow artistically," he says. "You learn by doing. Pay attention to how things work for good and bad. Learn to work with other people and have patience with your own work. Be creative and enjoy the experience." He pauses to emphasize how important it is to be likable, and if you don't have anything pleasant to say, "shut up!" he says. "If you get a bad reputation, it travels with you.""It's a dues-paying time," Schuck suggests. "Find a way to make it work. Eating peanut butterandjelly sandwiches and sleeping on mattresses on the floor won't kill you. But performing in summer stock will give you the chance to immerse yourself in theater 24-7. We went into the theater because we loved the theater. Our goal was to be as good as we could be. Summer stock, with its limited time, limited finances, love, and enthusiasm, created an energy you don't see on the professional stage. It was a win-win situation." Veteran Actors Recall the Joys and Challenges of Summer Theater By Simi Horwitz February 22, 2012 Don Most PHOTO CREDIT Don Most Recounting his experiences in summer stock, Conrad John Schuck is almost elegiac.His memories evoke images right out of a Judy GarlandMickey Rooney film in which the kids decide to put on a show in a barn. The living conditions were rugged, the money negligible at best, but boy did they have fun. Ten shows in 11 weeks and the opportunity to tackle a range of roles they wouldn't have the chance to play for another 30 years. And, man, were there charactersfrom eccentric directors to the summer-stock entrepreneurs, who ran their companies like little fiefdoms and always dressed the part. One was clad in a tuxedo, while another toted "what looked like a 4-foot cigar." Schuck also remembers a borderline-psychotic actor who was off her meds and appeared in the producer's office stark naked, proclaiming that she was a Blackfoot Indian princess. (Conrad John Schuck) A veteran actor whose credits include Broadway, film, and television, Schuck has little doubt that summer stock played a major role in his career. Though Schuck still performs in summer theater productions, the early years had the most lasting impact.His first experience was at the Denison University Theatre in Granville, Ohio, an on-campus theater providing students with the chance to try their hand at everything from musicals to classics. Occasionally guest actors were brought in, but for the most part the cast was exclusively college kids. Besides acting they also worked on the crew, mastering the fundamentals of sets, costumes, and props. By the time Schuck graduated from Denison University with a theater major, he knew something about the way a theater functioned, had performed in 50 to 60 shows, and was competitive in the professional world, he says. "In the summer theater we learned to do homework, be on time, have manners, and not be afraid to ask questions," he says. "It was a great primer."But most relevant, he earned his Equity card. He describes starring as El Gallo in a production of "The Fantasticks" at Denison, where K. Elmo Lowe, the managing director of the Cleveland Play House, saw him perform. Lowe was so impressed, he invited Schuck to repeat the role in Cleveland and become a member of the company for the 196263 season. In the interim, Schuck played Walt Dreary in "The Threepenny Opera" at the Woodstock Playhouse in upstate NY. When that production was extended two weeks, Schuck had the moxie to say he'd stay if he got his Equity card, and his strategy worked. By the time he arrived in Cleveland, "I was an Equity member," he recalls, laughing. "My salary was bumped up to $62.50 a week."Later, as a young professional he performed for three summers at the Cleveland Musicarnival, where he learned projection, among other skills. Housed in a tent, the theater-in-the-round sat 2,000, he recalls. In another summer-stock stint, he toured for 10 weeks throughout the Northeast and Chicago with the great comic Imogene Coca in Howard Teichman's "A Rainy Day in Newark." Since that time, he has gone on to appear in a host of films, including Robert Altman's "MASH," "Brewster McCloud," and "McCabe & Mrs. Miller," as well as in recurring roles on TV, from "Law & Order: Special Victims Unit" to "St. Elsewhere" all the way back to "McMillan & Wife," starring Rock Hudson. On Broadway, he has starred as Daddy Warbucks in "Annie" and Buffalo Bill in "Annie Get Your Gun." Learning Curve (Lee Roy Reams) The Tony-nominated Lee Roy Reams, who has appeared in 10 Broadway musicals and dozens of regional productions, also recalls receiving his Equity card at an early age, compliments of summer stock. Indeed, he was between his freshman and sophomore years at the University of Cincinnati's College-Conservatory of Music when he performed with the James Alex Summer Theatre in Dayton, Ohio, thus scoring his union membership. Like Schuck, Reams valued summer stock for offering him the chance to appear in many productions, viewing the quick turnover as training him to think fast on his feet. He also gained an appreciation of all the roles played by onstage and backstage personnel. "You lived theater," he says. "And there was that wonderful camaraderie."The high point for Reams was the opportunity to meet and mingle with the stars who were routinely brought in to the productions. He worked with such mega-talents as Dorothy Dandridge, Dorothy Collins, Rita Moreno, Jane Powell, and Patricia Morrison, among others. The glitz and glamour aside, they offered object lessons in professionalism, he says. By example, they taught the value of a solid work ethic and were also a wealth of information about the NY stage. Reams continues to perform in summer theaters, most recently at MUNY in St. Louis, where he and Schuck played the comic gangsters in "Kiss Me, Kate."Don Most came to summer stock later in life. His first encounter occurred when he was already an established actor, best known for his nine-year gig as the merry prankster Ralph Malph in the hit sitcom "Happy Days." Indeed, in 1978 when he performed at Lakewood Theater in Madison, Maine, he had been entering America's living room for four years. Still, he was starstruck by the theater's storied history. It is one of the oldest in America, and "everyone from silent screen stars to Broadway stars performed there," he says, impressed even in retrospect. "I appeared in 'Barefoot in the Park' with Maureen O'Sullivan. It was a wonderful, idyllic experience. It was a theater on a lake with a diner across the street. We'd go there before the show, and after the show we'd go to a nightclub. We were living in cabins in the woods." Most tackled summer theater two more times, including a stint at the Westport Country Playhouse in Westport, Conn., appearing in a production of David Wiltse's "Doubles" that co-starred George Maharis and David Groh.Interestingly, summer stock was Most's first professional stage experience, though in many ways performing in a weekly sitcom in front of a live studio audience was similar, he says. But stock offered him the chance to play roles he never would have landed. It also served as a welcome relief from the grind of TV during his hiatus. In the years that have passed, Most has branched out into directing indie films, though he never regrets his summer-stock experience. He continues to believe theater is the purest form of acting.Then and Now The three actors agree that the heady experience they enjoyed may not be as intense today. When they were launching careers, acting conservatories and professional theater training at the college level was not as commonplace or all-encompassing as it is today. In many ways, summer stock filled that gap. By contrast, young actors today may start out with lots of training to their credit. Nevertheless, our veteran actors maintain that the stock experience is still invaluable if you come to it with a receptive mind. Reams is concerned that unlike his cohorts, who viewed themselves as innocents when they entered summer stock, some current newbie actors believe they're already professional and have all the answers. Further, they're thinking about monetary gain and their futures as television stars, all of which is counterproductive."You never know who you'll meet or how you'll grow artistically," he says. "You learn by doing. Pay attention to how things work for good and bad. Learn to work with other people and have patience with your own work. Be creative and enjoy the experience." He pauses to emphasize how important it is to be likable, and if you don't have anything pleasant to say, "shut up!" he says. "If you get a bad reputation, it travels with you.""It's a dues-paying time," Schuck suggests. "Find a way to make it work. Eating peanut butterandjelly sandwiches and sleeping on mattresses on the floor won't kill you. But performing in summer stock will give you the chance to immerse yourself in theater 24-7. We went into the theater because we loved the theater. Our goal was to be as good as we could be. Summer stock, with its limited time, limited finances, love, and enthusiasm, created an energy you don't see on the professional stage. It was a win-win situation."

Bookies and Oscar Pundits Put Odds On The Artist, Obviously

The Academy Awards are not a contest, the humble nominees might demur, taking the high road through the gory scrum that is awards season. But do you really think, say, Glenn Close wouldnt cut a bitch for an Oscar? Alas, the odds are against her, literally; online books have her at as much as 100:1 odds to win her first statuette for Albert Nobbs. Take a peek at how the internets enterprising bookies have handicapped the 84th Academy Award nominees and adjust your bets accordingly. Oscar wagering is, of course, a natural byproduct of Hollywoods biggest night. After all, for some folks the Academy Awards are the sporting event of the season, and this Sunday is moviedoms Super Bowl the night our nation gathers around the tube to watch favored players, decked out in uniforms of black tie and couture, nodding gamely at the competition along the red carpet while hoping to be the one holding the hardware aloft in triumph at the end of the night. So whether or not you play along at home with your own Oscar pool or go in for the big bets, these odds should give you an extra leg up on predicting this weekends winners. This year the odds made by the experts line up for the most part with the prognostications of the awards watchers who contribute to the Gold Derby Oscar handicap (including Movieline's S.T. VanAirsdale, whose latest Oscar Index can be found here). That said, who among us isn't rooting for at least one or two upsets on the big night? The Artist has had a lock on Best Picture for months, and odds reflect the near-certainty that itll take home top honors. Running a distant second, according to the bookmakers and the pundits, is The Descendants, while Extremely Loud and Incredibly Close is the near-unanimous choice among betmakers and pundits for last place. Best Picture (Best odds selected from multiple sites via Oddschecker.com.) 1/9 The Artist 28-1 The Descendants 25-1 The Help 25-1 Hugo 50-1 War Horse 100-1 Midnight in Paris 100-1 Moneyball 100-1 Tree of Life 100-1 Extremely Loud and Incredibly Close Likewise, put money on The Artists Michel Hazanavicius to win Best Director (1/6 at Bodog.com) and you wont get much on a win, but bet on Terrence Malick (66-1 at Ladbrokes) and the dark horse could pay-off handsomely. A little more excitement is to be had in the Best Actor category, where favorite Jean Dujardin is fending off George Clooney in a close-ish race. And over in Best Actress, the ladies are duking it out in the more exciting category of the season, where Viola Davis reigns over Meryl Streep but a winning wager on The Girl with the Dragon Tattoos super, super dark horse Rooney Mara could be huge (303-1 at Betfair). Meanwhile, the pundits and the betting experts differ the most in Best Animated Feature, where the clear favorite is Rango; Oscar watchers betting with their hearts and minds (and knowledge of Academy voting habits) peg Puss in Boots and A Cat in Paris as the likeliest winners behind Rango, but betmakers put the odds on Chico & Rita in the case of an upset. Want less predictability in your Oscar betting game? You can also bet on which designer will be worn by the Best Actress winner (odds in favor of Stella McCartney, Valentino, and Yves Saint Laurent). For a full look at the odds on the Oscars in multiple categories, head to Oddschecker. [Oddschecker, Gold Derby]

Patric Verrone: Morgan Cox Award honoree

VerronePatric Verrone can't quite believe that he's locating the WGA West's Morgan Cox Award in recognition and services information for the guild."It's very flattering but furthermore surprising, since i have have appear like I've a lot more to accomplish,In . according to him. Verrone will probably be honored within the Authors Guild Awards' West Coast ceremony on Sunday within the Hollywood Palladium, joining the ranks of those scribes as Carl Gottlieb (film author of "Jaws") and Frank Pierson ("Dog Day Mid-day"). His professional career's experienced the world of "The Late Show," "The Tonight Show Starring Johnny Carson," "The Ray Sanders Show," "The Simpsons" and "Futurama.""Wonderful due respect to 'Futurama,' the most effective was coping with Johnny Carson since i have not required to show anybody just what the show involved,Inch he muses.Verrone's particularly pleased at joining the WGA's efforts to develop jurisdiction to the Fox animated shows, Comedy Central as well as the Tyler Perry shows. "Getting authors to the WGA remains incredibly satisfying," according to him.Verrone's participation with organizing animation inside the the 19 nineties introduced to his election for the board in 1999, serving two terms as secretary-treasurer and a pair of as leader like the 2007-08 strike, then another term round the board before losing the presidency to Christopher Keyser last fall.The needs of "Futurama" and raising three youngsters with his wife, Maiya Williams, keep him plenty busy. "As the kids get older, I'm greater than Confident with getting others undertake guild service." Verrone's also pleased that animation author Mike Reiss will intro him Sunday. "Mike's one of the funniest people I realize to make sure that makes my speech easier,Inch he adds.WGA Honours 2012Truth elbows out gags Good timing for WGA prexyHonoreesKress & McDuffie Eric Roth Tate Taylor Patric Verrone Zwick & Herskovitz Contact Dork McNary at dork.mcnary@variety.com

Swedish helmer created 'Safe' haven

Denzel Washington and director Daniel Espinosa round the number of "Safe House" If director Daniel Espinosa had his way, Hollywood's studio culture would embrace a kinder, gentler approach to filmmaking. Universal's "Safe House," the Swedish helmer's first American feature, which needed in $40 million in your area in the last weekend, had its share of bumps and snags throughout production, but Espinosa opposed pressure to handle the issues by getting rid of people. "I saw that lots of Americans' first knee-jerk reaction to conflict is always to fire somebody," he mentioned. "I don't do that. I don't fire people, which i don't let people to obtain fired in my sets." Espinosa arises from the eu school, where most photos burn through a smaller amount gold gold coin in comparison to reported $80 million allotted to "Safe House," having its roster of title stars, introduced by Denzel Washington. "In Sweden, once we fired somebody we wouldn't have the funds to use anybody else," states the Chilean-born director. "Whenever you concentrate on smaller sized budgets, you ought to get on. I aim to create really a family group structure (round the set). Firing people creates a very anxious workplace, which isn't ideal for creativity." By safeguarding his crew, Espinosa mentioned he could build the kind of loyalty that saw "Safe House" through some pretty rough patches. "It's nice when you're shooting as well as the producer states we must shut lower now because we've not anymore earnings with this particular day, along with your d.p. along with your crew say, 'We'll take action totally free.A You know you've won in it.In . "Safe House" experienced drastic changes before shooting. The film, in which the capture from the rogue agent (Washington) sparks a number of internecine destruction within the CIA, is positioned and was shot in Cape Town -- but was scripted for Rio p Janeiro. "Four several days before we'd start shooting in Rio, they'd uprisings and riots inside the favelas," mentioned Espinosa. It absolutely was november 2010 and "we didn't know how much security we'd need and then we couldn't visit.Inch The helmer and also the team scouted areas, including Hong Kong and Australia. They needed an area "concentrating on the same socioeconomic structure as Rio, with insufficient cities living next door in the center and upper classes, an urban area that's one character inside the movie." Shooting around the soundstage or using greenscreen wasn't an option, Espinosa mentioned. "I stated thirstily once we cannot find (shantytowns like the) favelas, I'd rather not shoot there. I desired the city to affect my figures, which can't happen if you're in the studio." Cape Town, having its teeming townships, shown an ideal location. They used 35mm film for your 75-day shoot. Espinosa hopes to produce more U.S. studio pictures, but more youthful crowd needs to continue safeguarding his deckie's within the vagaries of producers. "I'll get fired before anybody else," he mentioned. "I really do that because I like the task as well as the people Sometimes with. Worst-situation scenario: I'll go back to Sweden and spend some time with my pals." Bookings & Signings WME signed d.p. Guillaume Schiffman ("The Artist"), co-repping him with Salite Cymbler of France's Cinelite agency. WME also hired agent Carol Jeter, who results in board d.p. John Bailey ("Large Miracle"), production designer Lilly Kilvert ("Gray Guy") and producer Ginger root root Sledge ("Bernie"). Montana Artists signed first AD Serta "Laz" Lazarovit s ("The Frozen Ground"), production designer Alan Bainee ("Vicky Cristina Barcelona"), d.p. Cameron Duncan ("Southland") and costume designer Kim Wilcox ("Nobody Walks"). Agency reserved co-producer Darren Demetre on Sofia Coppola's "The Jewellery Ring," UPM Buddy Enright on Mikael Hafstrom's "The Tomb," d.p. John Rutland on Eduardo Sanchez's "Can be obtained,Inch production designer Ough Eyres on Kazuaki Kiriya's "The Ultimate Dark evening," and editors Michelle Tesoro on HBO's "Luck" and Jonathan Schwartz on Showtime's "The Big C." Desire to comment or advise a column subject? Email peter.caranicas@variety.com Contact Peter Caranicas at peter.caranicas@variety.com

Sci-Tech Honours marked by remembrance

Saturday night's Academy Scientific and Technical Honours banquet was marked by emotional remembrances of departed pals, another defense in the Academy's mission for encourage excellence, together with a phone call for the entire movie industry to obtain the spectacle and showmanship making watching movies in theaters irresistible.The evening incorporated the presentation of Oscar statuettes to Douglas Trumbull, who received the Sawyer Award for just about any career including groundbreaking visual effects, pointing, and pioneering technology also to they that built the ARRI laser scanner, that have received an Academy Plaque in 2001 but was "upgraded," since the Acad sometimes does when an innovation stands the age range. Because honorees are introduced in advance in addition to their individuals are present, the Sci-Specialists will be probably the most intimate of kudofests. Saturday's presentation was more emotional than most because two males were being honored posthumously: Dr. Jurgen Noffke, honored for your ARRI Zeiss Master Prime Contacts, died a year ago and John Lowry, honored for your digital image restoration method that bears his title, died out of the blue a three week period just before the presentation. Noffke and Lowry were appreciated within the podium with the teams that shared their honours. Lowry's widow needed to the stage along with his fellow individuals who win to collect his Plaque. Trumbull, within the remarks, spoke of his future plans and mentioned sadly "I used to be depending on John. This can be a tough one."Trumbull's plans include developing a movie along with his Showscan Digital process and mixing high frame rates, laser projection, high-gain screens to upgrade the film experience. "I am searching for a method to produce a movie you are in, rather than searching at," he mentioned.He referred to as round the industry to re-think its next steps so that it makes and presents movies that demand to look round the bigscreen, this really is this is not on mobile items, laptops and pills. "In my opinion we could make movies so people will (say) 'I wish to visit the flicks tonight, as it is so large, it's so grand, it's so spectacular, and there's a great deal showmanship that If only to visit the flicks.AInch Jonathan Erland, champion in the Bonner medal for intend to the Academy, spoken in greater detail in regards to the historic mission in the Academy to encourage excellence. He appreciated the founders in the Academy itself, the last individuals who win in the Bonner medal as well as the tech pioneers he'd known and labored with, many now dead, including Doug Trumbull's father, Don TrumbullErland referred to as round the Acad to bear in mind the how important its mission is among the rapid technological and business change swirling across the movie industry. "There's a classic Chinese curse: May you existence in interesting occasions," mentioned Bonner. "We're past interesting. We're completely to white-colored-knuckle fascinating." He reminded the number the main Oscarcast should certainly provide the Academy's mission and rejected the notion that entire org takes a new vision. "If our Academy still means excellence in movies, plus it must," he mentioned, "your real task before us is always to manage the trends, to ensure that movies stay strongly related the Academy's mission as well as the ideals we espouse, not one other way about. When all movies are perfect, you have to can discuss a completely new vision with this particular Academy."Erland noted he together with other founding people in the Acad's elevated Science Council are soon to term out. He mentioned he while others are while creating an institute for movie studies that will cooperate together with other orgs, like the Acad. The Sci-Tech banquet was once well-known due to its gleefully cheesy entertainment, but people days have remaining. Saturday evening Glen Hansard and Marketa Irglova completed three tunes, including their Oscar-winning "Falling Progressively." While using primary Oscarcast now prone to avoid song performances, that made the Sci-Specialists really the only Academy Award presentation this season to possess a live show of the greatest Song champion. Onstage, Hansard devoted part of a sound lesson for the late Whitney Houston, in addition to saluted the late Ronnie Chasen, whom he mentioned "appeared to become super good to us."Milla Jovovich was the presenter and host for your evening. She fought sometimes while using jargon on her behalf account teleprompter, as all Sci-Tech presenters do, but won inside the participants along with her warmth and enthusiasm. With no TV clock demanding they hustle offstage, every champion got his moment within the microphone to hail their fellow "brainiacs," and "brainiacs" and apologize to partners and youngsters for your extended several hours they'd devote. Several honoree mentioned he wanted this might inspire his children. Andy Jantzen of Vision Research, collecting a Plaque for your Phantom high-speed camera, mentioned to his children "The task your grandmother and grand daddy started in 1950 is not done. The task continues." Acad prexy Tom Sherak, at his final Sci-Tech banquet before his term finishes, mentioned he'd had time to ponder the oft-repeated indisputable fact that Academy Leader may be the finest delinquent job on the market. He mentioned this Honours season, he recognized why it absolutely was so: "I obtained to fulfill (Honorary Oscar champion) Richard Cruz, which i arrived at meet Doug Trumbull." Contact David S. Cohen at david.cohen@variety.com

'Stick Fly' to seal

Broadway play "Stick Fly," that has not handled to remain with Broadway auds, will shutter later this month. New follow Lydia R. Gem acquired lukewarm-to-reviews which are positive, but despite a cast of identifiable faces together with a creating assist from Alicia Secrets, the expansion shown unable to sustain B.O. in the Broadway season that has created around be abnormally crowded with new plays. Since the show began previews November. 20, weekly B.O. has only rare assigned $300,000. In recent days, weekly attendance has hovered in all the different 60%. Dule Hill, Mekhi Pfifer, Tracie Thomas, Ruben Santiago-Hudson, Rosie Benton and Condola Rashad star in the staging helmed by Kenny Leon, whose Rialto output of Samuel L. Jackson-Angela Bassett topliner "The Mountaintop" made an appearance its run lately. "Stick Fly," of a well-to-do Black family trading a weekend at their summer season home in Martha's Vineyard, needed a circuitous road to Broadway, bowing in Chicago in 2006. The title ongoing being frequently produced at U.S. regionals in urban centers including L.A. and Princeton right before a Leon-helmed co-production from Boston's Huntington Theater and D.C.'s Arena Stage. Broadway version of the co-production evolves from the creating team including Nelle Nugent, Secrets, Samuel Nappi, Reuben Cannon, Charles Salameno as well as the Huntington, among others. "Stick Fly" shuts Feb. 26 within the Cort Theater. Contact Gordon Cox at gordon.cox@variety.com

Terra Mater unveils 'Carnival of Life'

'Brazil - A Carnival of Life'Terra Mater is continuing its run of documentary event films with "Brazil -- A Carnival of Life," which promises to take auds on a journey from the Amazon jungle to the country's vast stretches of coastline and barren deserts to some of the longest waterfalls in the world.It's one of two films Terra Mater will unveil at the European Film Market.Sophokles Tasioulis, head of cinema and international theatrical sales at the Vienna-based company, describes the project as a "super blue-chip event natural history documentary" in the vein of BBC Worldwide's "Earth" and "Deep Blue" (on which Tasioulis served as producer).Established last year as a division of Red Bull Media House, Terra Mater specializes in doc production and distribution for TV, theatrical and multimedia platforms.Currently in production, "Brazil" is scheduled to be delivered in 2015 as a 90-minute film and a six-part TV series.Also making its market debut is Otmar Penker and Gerald Salmina's "Cry of the Eagle," about an Alpine shepherd who finds redemption when he rescues a baby eagle.Like Terra Mater's hit Spanish film "Among Wolves," by Gerardo Olivares, which became the new company's first title last year, "Cry of the Eagle" combines wildlife footage with a fictional narrative."Wolves," a fact-based tale about a boy raised by wolves in the Sierra Morena Mountains of southern Spain, was a solid box office hit domestically and recently sold to Polyband in Germany, where it is due to hit screens in June.It has also sold to Jupiter Films in France, Suntower Communications for Scandinavia and Feelgood in Greece.Pointing to the inherent difficulties most European films face outside their countries of origin, such as language barriers and the lack of well-known stars, Tasioulis says nature docs have a major advantage: "A wolf is a wolf in Japan as well as in China or in America. It doesn't speak a language, it doesn't carry a passport -- that makes these sorts of films easier. If you can find the right recipe, combine it with a dramatic story, then it works."Another Terra Mater pic on its slate is the $15 million-plus "Lighthouse of the Orcas," in which wild killer whales help an autistic child come out of his shell in South America. Olivares helms.As with "Wolves," crews will spend up to a year in the wild shooting footage of eagles in the Alps for "Cry of the Eagle" and orcas in Patagonia for "Lighthouse of the Orcas."Also in the works is "Mind Over Matter," a portrait of the athletes taking part in the 2012 London Paralympic Games, including a match-up between star sprinters Oscar Pistorius and Jerome Singleton -- the fastest blade runners on the planet.Terra Mater boasts the former production team of Universum, the acclaimed nature-wildlife film unit of Austrian pubcaster ORF, including CEO Walter Koehler. Contact Ed Meza at ed.meza@mannaa.de

Harrison: Ben and Jamie's Kiss Was One of the Most Horrifying Moments in Bachelor History

The Bachelor, Jamie and Ben After weeks of waiting to have her first kiss with Ben, Jamie finally made a move leading to one of The Bachelor's most cringe-worthy awkward moments. In this week's chat with host Chris Harrison, he explains that the NY nurse was out of her element, why the two-on-one date could've gone either way and how next week Ben finally confronts Courtney. Courtney outdid herself on this week's group date by basically going topless:Chris Harrison: If anybody was surprised by that, you're crazy - that was so her. But I have to say when she's on the group dates she dominates. Bless these girls playing a completely different game and being so worried about each other. As Courtney says, these group dates are like one-on-one dates for her. I know it's rubbing everyone the wrong way, but it's rubbing Ben the right way. VIDEO: Chris Harrison has a familiar face in mind for Bachelorette Emily Maynard Did you think Rachel had the two-on-one date with Blakeley in the bag?Harrison: No, honestly either one of them could've gone, but he didn't have anything with Blakeley. The more Blakeley pushed and opened herself up the more he realized, I don't feel that way about you. You hate to make this whole a game, but it is. You have two people and one girl is just making it easy on you, hugging on you, kissing on you, a little affirmation here and there, and then you walk into another room and the girl is insecure and crying. Who are you going to be attracted to? What did you think watching Jamie and Ben's first kiss?Harrison: You can tell she's shy ... and she was obviously out of her element. That was easily one of the most horrifying moments in the history of the show. It was sad, horrifying, funny - it's rare you feel every emotion possible, but you just didn't know what to do watching. VIDEO: Bachelor's Chris Harrison says if fans hate Courtney now, wait until next week Was it awkward telling Casey S. she had to go home?Harrison: The whole point with her was that I didn't want it to be confrontational. In no way was it a Bentley or Rozlyn thing, where she had come on to deceive. Through talking to the girls and hearing from the boyfriend [it was apparent] she was in love with this guy [at home] and she really just came to the realization on the show. I think she came on the show to try to get over this guy, but it just didn't work. It looks like next week, Ben finally confronts Courtney.Harrison: He hears more from other girls and so he finally says, we're getting way late in this process if there's this much smoke there's got to be something to it. So there's a confrontation next week where it all comes to a head. Don't forget to check out this week's Bachelor: The Morning After ...

Robert Halmi Sr. exits RHI Entertainment

In another major change at RHI Entertainment, Robert Halmi Sr. is exiting the organization he founded decades ago to produce a brand new Gotham-based production shingle. Halmi, who's 88, stated he'd still collaborate with RHI on projects that he's recently been developing. The move may come as RHI emerges from the Chapter 11 personal bankruptcy filing and grows its focus past the made-fors which have been Halmi's signature for many years. Halmi's boy Robert Halmi Junior. left his publish as prexy and Boss of RHI in This summer. "As our new management team re-focuses our production strategy, we plan to broaden our portfolio to incorporate television series along with other formats that haven't typically been central to RHI's business design," stated RHI board chairman Gabriel p Alba. "This new agreement is fantastic for both sides. It guarantees our working relationship with Robert continues which we can usually benefit from his singular creative vision, even while the organization develops into new areas." Halmi Sr. stated the brand new pact allows him the "freedom to concentrate solely on which has inspired me right from the start. I'm thrilled to have the ability to continue doing things i have always loved probably the most.Inch The Hungarian-born Halmi Sr. made his title like a producer of large-budget event movies and miniseries. Halmi hit his peak within the the nineteen nineties having a string of effective made-fors on NBC and ABC, including "Gulliver's Travels," "The Journey," "Noah's Ark," "Merlin" and "Alice in Wonderful." Contact Cynthia Littleton at cynthia.littleton@variety.com

Nikita's Melinda Clarke: Control of Division Is Up for Grabs!

Melinda Clarke Amanda may be the current head of Division, but it appears that Percy might be calling the shots... from his prison no less. "I think Amanda is a master manipulator, but I think Percy's ego is even bigger," Nikita's Melinda Clarke tells TVGuide.com. "I think Amanda is a little more realistic but found herself getting caught up in the power and grandeur of all of Division. She's ultimately the same creature as Percy, and gets caught up into wanting more and more power. It goes beyond just money. For the future of Division, it'll be interesting to see who ends up in power. Clearly it could be up for grabs." From Nikita to Chuck: TV's sexiest crime fighters On Friday's "Clean Sweep" (8/7c, The CW), the former colleagues pick up from last episode's cliff-hanger, in which Percy (Xander Berkeley) is on the verge of escape. Amanda (Clarke) knows she can't kill him -- his death would trigger the release of all Division data in the remaining black boxes -- but threatens to put him into a chemically induced coma. Percy, however, only has to give the command and his Guardians are standing by to shoot the Oversight members they're holding hostage and then unleash a deadly gas in Division that will kill everyone, including Amanda. In the midst of this power struggle comes personal feelings of bitterness. After Percy was deposed as the Commander of Division for trying to take over Oversight last season, Amanda was promoted in his place. "I think she misses having that dynamic and that relationship with Percy," says Clarke. "She's really furious with him for his actions and breaking up the dynamic duo that I think she saw as their relationship. We saw a little crack in her armor last week when she said, 'We had something,' but he's saying, 'We had nothing.' "He knows emotional warfare can be just as damaging as any other kind of warfare and he knows exactly which buttons to push," Clarke continues. "He feels so betrayed by Amanda for putting him in prison, yet she feels so betrayed by him for doing what he did. She's been put in the position of possibly having to kill him or putting him into this coma. She doesn't want to. So this next episode we'll see just how much power Percy does have." Check out the rest of today's news It sounds like exes fighting to us, but Clarke isn't too sure if Amanda and Percy ever had a love affair, not a traditional one anyway. "I don't know if it was ever a physical relationship but it definitely was intellectual and reciprocated in that they got [turned on by] each other's intellect," she says. "You could equate it with [an intellectual romance] for sure. That's what we allude to, but it goes beyond that, higher than that. That's how Xander and I see it." Meanwhile, Nikita (Maggie Q) and her rogue team have become aware of this precarious situation thanks to Madeline (Alberta Watson), one of the Oversight captives and the mother of Sean Pierce (Dillon Casey), and are faced with trying to save the innocent lives in Division. "The rest of the gang are in some ways forced to help Amanda because they're doing the right thing and go against Percy," Clarke says. "You have to pick your battles. So they're definitely involved." Executive producer Craig Silverstein adds, "We kind of get back into that Nikita-Alex dynamic that we had in the first season a little where Nikita needs Alex to do something in Division. Alex still kind of has a pass, so she goes in to work that out." The season has been building to Percy's escape, and Clarke confirms that he will be getting out of prison. Judging by preview photos, he accidentally runs straight into Nikita's gun-toting arms: "Percy's plan is not just to get out. He wants Division back. It's his place," Silverstein explains. "But trying to do both those things, he is going to not quite succeed. Everything's going to change." Percy shouldn't forget about Amanda either. "There are things going on off-screen that you would never expect," Clarke teases. "All kinds of contingency plans and master plans. She definitely has her own plans in the works, something that's been going on for a long time that'll be interesting and shocking for the audience. She's been working with somebody, somebody familiar, in her own master plan. It'll be pretty surprising and it's a very dynamic relationship, let's say that. That will be revealed in a few weeks. All those chess moves that haven't been done yet, they're always happening." Nikita airs on Fridays at 8/7c on The CW. Do you think Percy and Amanda were ever lovers? What do you think her master plan is? Who is her secret ally?

Stunts given due

Harrison Ford co-starred in 'Cowboys & Aliens,' whose stunt pros were nommed. Veteran Hollywood stuntman and second-unit director Conrad E. Palmisano was once buried alive for a scene in 1977's "It Happened at Lakewood Manor."With his only source of oxygen coming from a small garden hose connected to him underground, he gave strict instructions to the surrounding film crew: "Bury me once, bury me good. I only want to do this once."It's this mix of levelheaded cool and keen mental focus to which Palmisano, who's worked most recently as a stunt double in CBS' "The Big Bang Theory" and "Transformers: Dark Side of the Moon," credits his success."When you start out in this career you think to yourself, this can't hurt me, it can only kill me," he deadpans. "Digital technology has made it much safer to perform stunts than it was two decades ago. Back then, you basically took your life in your hands."But while a slew of honors are presented each year by stunt biz insiders -- Taurus World Stunt Awards and the Stuntmen's Assn. of Motion Pictures Awards among them -- the SAG Awards and Primetime Emmys are the only major kudofests to feature a category for stunt coordination.As the Oscars continue to overlook their contribution to film, are stunt performers -- responsible for some of the most memorable scenes in movie history, from "Ben-Hur's" chariot race to "Bullitt's" famous car chase sequence -- getting their fair shake of industry praise?"Stunt performers get people into movie theaters every year and we deserve credit for that," says Palmisano, current chair of the SAG stunt and safety committee. "We perform part of the art and that should be acknowledged."On a certain level, Armstrong believes the Academy is vainly holding fast to the long retired notion that film is pure fantasy."In the 1940s and '50s, stuntmen were all hidden," he says. "Everybody wanted to believe that Errol Flynn did his own sword fighting and that Laurence Olivier did his own horseback riding. Today that's all changed. Because of videogames and the Internet, every 8-year-old knows of the existence of professional stuntmen and stuntwomen."Stunt coordinator Jane Austin ("Titanic," "Scream 3"), who's served on the national boards of both SAG and AFTRA, is confident that at some point in the future the Academy will give into the collective push to include a stunt category on its roster."We're delighted that SAG has put us in the category," says Austin. "My personal feeling is that this is a step closer to achieving recognition and acknowledgement at the Oscars.""SAG and the Emmys have honored us, so it's only time before the Oscars relent," agrees Palmisano. "It will happen."But not every stunt performer is vying for Oscar's attention."I like the anonymity," declares legendary stunt driver and stunt coordinator Gary Davis. "If my actor wants to say he's doing the stunt he should be able to do so. My job is to make him look good, not to take bows."SAG AWARDS 2012Idol of capri to acting icon | Howard talks up AFTRA merger | Acad, SAG share same voter pool | Partygoers relax, revel after the show | Stunts given due | Brisk pace gives winners last word | Contact the Variety newsroom at news@variety.com

The Brad Pitt Interview

Brad Pitt is a bit of a puzzle. One of the best character actors working today, he's trapped in a leading man's bone structure. And his choices defy traditional Hollywood logic; after bursting onto the scene in 1991 as the small-time hustler who seduces Geena Davis in "Thelma & Louise" and as the beatific brother of 1992's "A River Runs Through It," he likely had his pick of big movie roles. Instead, he grew a wild beard, had his front tooth chipped by a dentist, and appeared not to wash his hair for weeks to play a crazed killer in the indie "Kalifornia."Pitt's career would continue this somewhat schizophrenic pattern; for every big-budget blockbuster he appeared in ("Interview With a Vampire: The Vampire Chronicles," "Ocean's Eleven," "Troy"), he would lend his star power to a smaller movie that likely wouldn't have gotten made without his participation ("The Assassination of Jesse James by the Coward Robert Ford," "The Tree of Life"). Sometimes he found projects that combined prestige with box-office appeal, such as "Inglourious Basterds" and "The Curious Case of Benjamin Button." But what seemed most important to Pitt was to work with the best filmmakers in the businessDavid Fincher, Quentin Tarantino, the Coen brothers, Terrence Malick. The size of his roles seemed secondary to being part of a great story.So it's no surprise that Pitt frequently cites great films of the 1970s and filmmakers such as Hal Ashby or actors such as Gene Hackman when talking about the works that inspired him. Last year, Pitt produced and starred in two features that he was drawn to largely because they reminded him of the films he loved growing up. In Malick's experimental drama "The Tree of Life," Pitt won raves for playing the strict father of two boys growing up in 1950s Texas. But it is "Moneyball" that has earned Pitt some of the best reviews of an esteemed career. As Oakland A's general manager Billy Beane, who implemented a scientific formula to assemble a winning baseball team with little money, Pitt charms, rages, and obsesses in a performance that is exhilarating to behold. And just this week, it earned Pitt his third Oscar nomination for acting.It would be easy to resent Pitt, an actor who makes everything he does look so natural. Take it from his "Moneyball" co-star Jonah Hill. "You know what sucks about Brad?" Hill says with a laugh. "Here's what sucks about him: He's super good at acting, he's got a great career, he's a great guy, and he's funnier than me! It's bullshitI am so sick of it. He can't let me have that one thing!"In addition to speaking at a recent Q&A, Pitt sat down with Back Stage to talk about his lengthy career.Back Stage: When did you first realize you wanted to be an actor? Brad Pitt: I grew up in Oklahoma and Missouri, and I just loved film. My folks would take us to the drive-in on summer nights, and we'd sit on the hood of the car. I just had this profound love for storytelling. I think it's just an amazing thing we get to do. We're so complex; we're mysteries to ourselves; we're difficult to each other. And then here's this storytelling that reminds us we're all the same. I consider it such a privilege. Back Stage: Did you have anyone who mentored you or really guided you in those early years? Pitt: When I first moved to L.A., I discovered Roy London. I didn't know anything about the arts, the profession; I had no technique, I knew nothing, I'm fresh from Missouri. I sat in on a few classes, and they just felt a little guru-ish and just didn't feel right to me. Until I met Roy. Back Stage: How did you find him? Pitt: I was taking all these odds jobs, and one of them was driving strippers around to bachelor parties. My job was to get them there, get them home, collect the money, play the music, and catch the clothes. For real. It was a very interesting education and paid really well, so I did it for three months and then decided I was going to move on. The boss said, "All right, but just come in one last night. I need you to do Sunday; I'm in a pinch." And this woman turned out to be dating an actor. I didn't know any actors or know anyone who knew any actors. She said she started this class an actor told her to go to. I asked for the name and went to check it out and felt like this was a really good direction. I learned so much from that man. I miss him. Back Stage: Did he teach a specific method or kind of create his own? Pitt: It was kind of based on Uta Hagen, but I think [Roy] really made it his own. He was tough, lovely, compassionate, tough. I give him full credit for pointing me in this direction. I studied with him for three years, I think, then started getting some work. Then I would work with him individually on projects. He loved film, and he loved storytelling. And he loved the individual and looking at what each person could bring to something.Back Stage: From the beginning of your career, you've made really interesting choices in your roles and collaborators. You could have just made big studio blockbustersand there's nothing wrong with those; I like them Pitt: You and me both. I enjoy them. But I actually wouldn't be very good at them. Back Stage: Why not? Pitt: It's just not my interest. I grew up on certain movies, particular movies that said something to me as a kid from Missouri, movies that showed me places I'd yet traveled, or different cultures, or explained something, or said something in a better way than I could ever say. I wanted to find the movies like that. It was less about a career than finding the films I wanted to see. Back Stage: You obviously play leading men, but I think of you as a character actor Pitt: I appreciate that!Back Stage: But because you are a star, did you ever worry you wouldn't get the character roles? Have you ever felt underrated as an actor? Pitt: No, I thought I could always get there or make that turn as long as they let me stay in the game. Listen, I've been pretty fortunate. And if I've been underrated, it's actually been something I've been able to work with; I can surprise people. It sets me up to exceed expectations, so I don't mind.Back Stage: What's your favorite part about being an actor? Pitt: I'm at an age now where I get to start looking back, I guess. And there are some really amazing people I've been able to hang out with and work with. Hollywood gets dubbed this place of extreme vanity and needinessand I guess it's therebut that's not the crowd I've seen or run with. I've found the most interesting, curious, engaging people in this funny thing we call storytelling. I love working with them, and I love the moment right before "Action" and the bell rings, and you don't know exactly what's going to happen; you just start following a vein of thought. And I love the surprises that come from that. And I love stories. I think it's an amazing thing we get to do; we get to contribute to the Zeitgeist of our time. I don't know how much relevance that haswe're not eradicating T.B.but I don't diminish it either. I think there's really something to getting to tell stories that investigate or laugh at what paradoxes and quizzical things we are.Back Stage: You've also gotten into producing, and spent years trying to get "Moneyball" made. How did the story find its way to you, and what attracted you to it? Pitt: Aaron Sorkin described the making of this film the other day. He said, "There are easy films, there are difficult films, then there's 50 feet of crap, then there's 'Heaven's Gate,' then there's us." It was an arduous undertaking. There was a first attempt at a script, and I felt there was something there, but it was geared to more of a major league kind of slant, more comedic. Then I read the book and became rather obsessed with this man's story, who was labeled a failure in some ways. And these ideas of valuehow we value ourselves, what are we worth to each other, and is this system even accurate? And then we started. Economics is not the most edge-of-your-seat subject matter, so it took us a few years to get it right. And we found [director] Bennett Miller. He's not getting enough credit for how much authorship he has of the film. I think he's going to be one of our best. Back Stage: What was the most unusual or difficult part about making the film? Pitt: Something that I think is particularly interesting to actors: Bennett was intent on bringing in real baseball insiders. Therefore they're not actors, a lot of the baseball players and scouts; they're not trained as we are. And he very wisely said, "Don't say the lines; put them in your own words." Then it became incumbent on us to respond to that, which can be very exhausting. You've got to be on your toes at all times. And these guys know baseball certainly more than we do. The interesting thingand it was the same thing in "Tree of Life," working with kids who didn't know the script and weren't actorsthere's a spontaneity that happens; there's a freshness that happens that's up on the screen that I really, really enjoy. I'm questioning myself how to bring it into future projects, because I think it makes that little bit of difference in what we do become more alive. You are really in the moment. I hope to be able to do more of that. Back Stage: You were also a producer on "Tree of Life." Is it true you didn't originally intend on acting in it? Pitt: Yeah. Our actor fell out, and suddenly the film was in jeopardy, and it was looking like it was going to go away. So I said, "Fuck itI'll do it." That movie was a challenge to get made and get the money for. Terry and I grew up in similar kind of country environments, and we certainly have a kinship.Back Stage: Another director you've collaborated with a lot is David Fincher. Pitt: He's a great friend. Sharp as a knife and wickedly funny. I will absolutely be working with him again. Back Stage: What do you make of his reputation for doing multiple takes of a scene? Pitt: It's not [Laughs.] You know, it's not true. There are times when it's a big technical thing and that happens. But it is this moniker he's received. But once it's down, it's there, it's in concrete. Back Stage: And isn't it a good thing to be able to do lots of takes? Pitt: It can be. But on "Tree of Life" we just did two takes on everything. And the second take was completely different from the first. So I can go either way.Back Stage: Although I'm assuming you haven't had to audition in years, what is your take on the audition experience? Pitt: Bennett talks about this a lot; a lot of times, what it takes to get elected to office has nothing to do with what it takes to govern. I find that true about the auditioning process, as well. You're sitting in a room, and you all kind of look alike, and you're all going over your lines, and you can hear the audition going on inside. And you have these few pages of black lines on white paper, and it says you smile here, you do this there. You start hearing the same thing over and over. Now you think of the people on the other side there, the people that are running the casting sessions. By the third, the fourth, the 10th, the 20th, they're hearing the same thing, and then suddenly somebody comes in and does something different. And it lands. Now you can't be different for different's sake, and this doesn't always work, but you have to separate yourself from the normal read. Of course, it has to be truthful. If it's not truthful, don't waste your time. I think that's a key thing that took me a while to figure out. Back Stage: Is there anything else you know now that you wish you'd known at the beginning of your career? Pitt: When you first get opportunities, suddenly you get surrounded by a lot of people who want to make money off you but also are there to help. But they start telling you so much what you need to be and what you need to do to maintain some idea of career maintenance. When you start out, it's very discombobulating, and you are ill-defined at that point as far as direction, what stories are personal to you. So there's two things I'm saying here; at that point, I wish I knew just to follow what was interesting to me. Because we're actors, we want to tell stories, we want to tell personal stories. And not just something you can plug any one of us in and basically get the same thing. Get into something that's really personal that means something to you, where you have something to say and is something really individualized. I wish I was more aware of that then instead of doing a few things I was told would be good for me. And they weren't, because it left me empty, so I didn't do a good job anyways. I think that's what's key to what we do: It's got to be personal.What's So Funny? At a Jan. 15 Q&A sponsored by Back Stage and SAG Foundation, Brad Pitt and Jonah Hill spoke to a packed house about their work on "Moneyball." One topic of discussion was a blooper reel on the DVD that features Pitt laughing hysterically for almost a full three minutes. The scene in question is one near the end of the film, when Hill tries to show him video of a baseball player who hit a home run without realizing it, and Pitt attempts to collect himself several times, to no avail. When asked what he was laughing about, Pitt put the blame on his co-star. "I can't tell you what he said. It's so wrong. So wrong," Pitt said. "This is the guy who did 'Superbad.' Just head in that direction, then go further." Though he wouldn't reveal what he said, Hill responded, "Movie shoots, sometimes you're there for like 12 or 15 hours, and sometimes you get joy out of trying to make the other person laugh when you're not on camera. I think that is one of the gifts of being an actor, is trying to see how someone handles it when they're getting told the dumbest things on the planet, and they have to actually react like they're watching something serious or they're moved by something. I had a really great time." Quipped Pitt, "I know you did." By Jenelle Riley January 25, 2012 Brad Pitt in "Moneyball" Brad Pitt is a bit of a puzzle. One of the best character actors working today, he's trapped in a leading man's bone structure. And his choices defy traditional Hollywood logic; after bursting onto the scene in 1991 as the small-time hustler who seduces Geena Davis in "Thelma & Louise" and as the beatific brother of 1992's "A River Runs Through It," he likely had his pick of big movie roles. Instead, he grew a wild beard, had his front tooth chipped by a dentist, and appeared not to wash his hair for weeks to play a crazed killer in the indie "Kalifornia."Pitt's career would continue this somewhat schizophrenic pattern; for every big-budget blockbuster he appeared in ("Interview With a Vampire: The Vampire Chronicles," "Ocean's Eleven," "Troy"), he would lend his star power to a smaller movie that likely wouldn't have gotten made without his participation ("The Assassination of Jesse James by the Coward Robert Ford," "The Tree of Life"). Sometimes he found projects that combined prestige with box-office appeal, such as "Inglourious Basterds" and "The Curious Case of Benjamin Button." But what seemed most important to Pitt was to work with the best filmmakers in the businessDavid Fincher, Quentin Tarantino, the Coen brothers, Terrence Malick. The size of his roles seemed secondary to being part of a great story.So it's no surprise that Pitt frequently cites great films of the 1970s and filmmakers such as Hal Ashby or actors such as Gene Hackman when talking about the works that inspired him. Last year, Pitt produced and starred in two features that he was drawn to largely because they reminded him of the films he loved growing up. In Malick's experimental drama "The Tree of Life," Pitt won raves for playing the strict father of two boys growing up in 1950s Texas. But it is "Moneyball" that has earned Pitt some of the best reviews of an esteemed career. As Oakland A's general manager Billy Beane, who implemented a scientific formula to assemble a winning baseball team with little money, Pitt charms, rages, and obsesses in a performance that is exhilarating to behold. And just this week, it earned Pitt his third Oscar nomination for acting.It would be easy to resent Pitt, an actor who makes everything he does look so natural. Take it from his "Moneyball" co-star Jonah Hill. "You know what sucks about Brad?" Hill says with a laugh. "Here's what sucks about him: He's super good at acting, he's got a great career, he's a great guy, and he's funnier than me! It's bullshitI am so sick of it. He can't let me have that one thing!"In addition to speaking at a recent Q&A, Pitt sat down with Back Stage to talk about his lengthy career.Back Stage: When did you first realize you wanted to be an actor? Brad Pitt: I grew up in Oklahoma and Missouri, and I just loved film. My folks would take us to the drive-in on summer nights, and we'd sit on the hood of the car. I just had this profound love for storytelling. I think it's just an amazing thing we get to do. We're so complex; we're mysteries to ourselves; we're difficult to each other. And then here's this storytelling that reminds us we're all the same. I consider it such a privilege. Back Stage: Did you have anyone who mentored you or really guided you in those early years? Pitt: When I first moved to L.A., I discovered Roy London. I didn't know anything about the arts, the profession; I had no technique, I knew nothing, I'm fresh from Missouri. I sat in on a few classes, and they just felt a little guru-ish and just didn't feel right to me. Until I met Roy. Back Stage: How did you find him? Pitt: I was taking all these odds jobs, and one of them was driving strippers around to bachelor parties. My job was to get them there, get them home, collect the money, play the music, and catch the clothes. For real. It was a very interesting education and paid really well, so I did it for three months and then decided I was going to move on. The boss said, "All right, but just come in one last night. I need you to do Sunday; I'm in a pinch." And this woman turned out to be dating an actor. I didn't know any actors or know anyone who knew any actors. She said she started this class an actor told her to go to. I asked for the name and went to check it out and felt like this was a really good direction. I learned so much from that man. I miss him. Back Stage: Did he teach a specific method or kind of create his own? Pitt: It was kind of based on Uta Hagen, but I think [Roy] really made it his own. He was tough, lovely, compassionate, tough. I give him full credit for pointing me in this direction. I studied with him for three years, I think, then started getting some work. Then I would work with him individually on projects. He loved film, and he loved storytelling. And he loved the individual and looking at what each person could bring to something.Back Stage: From the beginning of your career, you've made really interesting choices in your roles and collaborators. You could have just made big studio blockbustersand there's nothing wrong with those; I like them Pitt: You and me both. I enjoy them. But I actually wouldn't be very good at them. Back Stage: Why not? Pitt: It's just not my interest. I grew up on certain movies, particular movies that said something to me as a kid from Missouri, movies that showed me places I'd yet traveled, or different cultures, or explained something, or said something in a better way than I could ever say. I wanted to find the movies like that. It was less about a career than finding the films I wanted to see. Back Stage: You obviously play leading men, but I think of you as a character actor Pitt: I appreciate that!Back Stage: But because you are a star, did you ever worry you wouldn't get the character roles? Have you ever felt underrated as an actor? Pitt: No, I thought I could always get there or make that turn as long as they let me stay in the game. Listen, I've been pretty fortunate. And if I've been underrated, it's actually been something I've been able to work with; I can surprise people. It sets me up to exceed expectations, so I don't mind.Back Stage: What's your favorite part about being an actor? Pitt: I'm at an age now where I get to start looking back, I guess. And there are some really amazing people I've been able to hang out with and work with. Hollywood gets dubbed this place of extreme vanity and needinessand I guess it's therebut that's not the crowd I've seen or run with. I've found the most interesting, curious, engaging people in this funny thing we call storytelling. I love working with them, and I love the moment right before "Action" and the bell rings, and you don't know exactly what's going to happen; you just start following a vein of thought. And I love the surprises that come from that. And I love stories. I think it's an amazing thing we get to do; we get to contribute to the Zeitgeist of our time. I don't know how much relevance that haswe're not eradicating T.B.but I don't diminish it either. I think there's really something to getting to tell stories that investigate or laugh at what paradoxes and quizzical things we are.Back Stage: You've also gotten into producing, and spent years trying to get "Moneyball" made. How did the story find its way to you, and what attracted you to it? Pitt: Aaron Sorkin described the making of this film the other day. He said, "There are easy films, there are difficult films, then there's 50 feet of crap, then there's 'Heaven's Gate,' then there's us." It was an arduous undertaking. There was a first attempt at a script, and I felt there was something there, but it was geared to more of a major league kind of slant, more comedic. Then I read the book and became rather obsessed with this man's story, who was labeled a failure in some ways. And these ideas of valuehow we value ourselves, what are we worth to each other, and is this system even accurate? And then we started. Economics is not the most edge-of-your-seat subject matter, so it took us a few years to get it right. And we found [director] Bennett Miller. He's not getting enough credit for how much authorship he has of the film. I think he's going to be one of our best. Back Stage: What was the most unusual or difficult part about making the film? Pitt: Something that I think is particularly interesting to actors: Bennett was intent on bringing in real baseball insiders. Therefore they're not actors, a lot of the baseball players and scouts; they're not trained as we are. And he very wisely said, "Don't say the lines; put them in your own words." Then it became incumbent on us to respond to that, which can be very exhausting. You've got to be on your toes at all times. And these guys know baseball certainly more than we do. The interesting thingand it was the same thing in "Tree of Life," working with kids who didn't know the script and weren't actorsthere's a spontaneity that happens; there's a freshness that happens that's up on the screen that I really, really enjoy. I'm questioning myself how to bring it into future projects, because I think it makes that little bit of difference in what we do become more alive. You are really in the moment. I hope to be able to do more of that. Back Stage: You were also a producer on "Tree of Life." Is it true you didn't originally intend on acting in it? Pitt: Yeah. Our actor fell out, and suddenly the film was in jeopardy, and it was looking like it was going to go away. So I said, "Fuck itI'll do it." That movie was a challenge to get made and get the money for. Terry and I grew up in similar kind of country environments, and we certainly have a kinship.Back Stage: Another director you've collaborated with a lot is David Fincher. Pitt: He's a great friend. Sharp as a knife and wickedly funny. I will absolutely be working with him again. Back Stage: What do you make of his reputation for doing multiple takes of a scene? Pitt: It's not [Laughs.] You know, it's not true. There are times when it's a big technical thing and that happens. But it is this moniker he's received. But once it's down, it's there, it's in concrete. Back Stage: And isn't it a good thing to be able to do lots of takes? Pitt: It can be. But on "Tree of Life" we just did two takes on everything. And the second take was completely different from the first. So I can go either way.Back Stage: Although I'm assuming you haven't had to audition in years, what is your take on the audition experience? Pitt: Bennett talks about this a lot; a lot of times, what it takes to get elected to office has nothing to do with what it takes to govern. I find that true about the auditioning process, as well. You're sitting in a room, and you all kind of look alike, and you're all going over your lines, and you can hear the audition going on inside. And you have these few pages of black lines on white paper, and it says you smile here, you do this there. You start hearing the same thing over and over. Now you think of the people on the other side there, the people that are running the casting sessions. By the third, the fourth, the 10th, the 20th, they're hearing the same thing, and then suddenly somebody comes in and does something different. And it lands. Now you can't be different for different's sake, and this doesn't always work, but you have to separate yourself from the normal read. Of course, it has to be truthful. If it's not truthful, don't waste your time. I think that's a key thing that took me a while to figure out. Back Stage: Is there anything else you know now that you wish you'd known at the beginning of your career? Pitt: When you first get opportunities, suddenly you get surrounded by a lot of people who want to make money off you but also are there to help. But they start telling you so much what you need to be and what you need to do to maintain some idea of career maintenance. When you start out, it's very discombobulating, and you are ill-defined at that point as far as direction, what stories are personal to you. So there's two things I'm saying here; at that point, I wish I knew just to follow what was interesting to me. Because we're actors, we want to tell stories, we want to tell personal stories. And not just something you can plug any one of us in and basically get the same thing. Get into something that's really personal that means something to you, where you have something to say and is something really individualized. I wish I was more aware of that then instead of doing a few things I was told would be good for me. And they weren't, because it left me empty, so I didn't do a good job anyways. I think that's what's key to what we do: It's got to be personal.What's So Funny? At a Jan. 15 Q&A sponsored by Back Stage and SAG Foundation, Brad Pitt and Jonah Hill spoke to a packed house about their work on "Moneyball." One topic of discussion was a blooper reel on the DVD that features Pitt laughing hysterically for almost a full three minutes. The scene in question is one near the end of the film, when Hill tries to show him video of a baseball player who hit a home run without realizing it, and Pitt attempts to collect himself several times, to no avail. When asked what he was laughing about, Pitt put the blame on his co-star. "I can't tell you what he said. It's so wrong. So wrong," Pitt said. "This is the guy who did 'Superbad.' Just head in that direction, then go further." Though he wouldn't reveal what he said, Hill responded, "Movie shoots, sometimes you're there for like 12 or 15 hours, and sometimes you get joy out of trying to make the other person laugh when you're not on camera. I think that is one of the gifts of being an actor, is trying to see how someone handles it when they're getting told the dumbest things on the planet, and they have to actually react like they're watching something serious or they're moved by something. I had a really great time." Quipped Pitt, "I know you did."

Connecting over bard

Patti Cruz and Jessica Chastain Vanessa Redgrave and Rob Fiennes bring their mother-and-boy act towards the preem. Bob Balaban and Susan Sarandon Celine Rattray, Trudie Straightener and Paul Haggis party in the Royalton's Forty Four. Susan Sarandon had lots of compliments for friend Rob Fiennes, who introduced Shakespeare's "Coriolanus" to NY City Tuesday evening."I am just here to carry his hands," Sarandon stated of Fiennes, making his movie directorial debut.Fiennes was became a member of around the red-colored carpet by co-stars Vanessa Redgrave and Jessica Chastain, who were built with a little moment of her very own in the Forty Four afterparty."I'd no clue Susan Sarandon would be around! I have never met her! I'm able to hardly speak at this time, I am stuttering!" gushed Chastain, who continued to divulge her plans for that publish-honours season. "I am likely to Hawaii. And I am not likely to bring my telephone. Because I've not taken a holiday.Inch Meanwhile, Fiennes revealed what it really was prefer to direct Redgrave, who plays his mother within the pic. "Vanessa includes a quite strong response to a component. And That I felt it smart to pay attention and embrace what she was recommending," he stated.Also available for Fiennes' debut were Liam Neeson, Laura Linney and Harvey Weinstein, who introduced the Weinstein Co. film having a couple of jokes inspired through the Golden Globes."I acquired known to as a few names. When Meryl Streep stated 'God,' three of my children e-mailed me simultaneously after which Used to do a job interview having a dog two hrs later," stated Weinstein, mentioning to "The Artist's" Uggie. "Fame is fleeting in Hollywood." Contact the range newsroom at news@variety.com

Actor Breaks Hands Throughout Onstage Slap

The thing that was stated to become an imitation slap increased to become genuine smack a week ago within the Huntington Theatre Company's output of "God of Carnage." 30 minutes just before the conclusion in the Jan. 14 matinee, Tony-Award-nominee Johanna Day, who plays Veronica, broke her hands when slapping cast member Stephen Bogardus within a scene. He wasn't hurt. A fight director had choreographed the scene, but a Huntington representative told Playbill.com, "Something simply went amiss this time around around around."Day finished the performance after which it visited a health care facility, where she was recognized getting a broken bone in their hands. The Jan. 14 evening performance was cancelled, as well as the production began again shows the very next day with modified fight choreography. Huntington's "God of Carnage" is scheduled to use through Feb. 6. .

Golden Globes Those who win Include George Clooney, Michelle Williams

The 2012 Golden Globe Honours wasn't as questionable or lewd as Ough Gervais' memorable turn as host finally year's show indeed, this time around around, the British comedian's jokes were missing a number of that signature sting however the outcome was believe it or not interesting for cinephiles keeping a careful eye on the highway towards Oscar. As numerous expected, "The Artist" and "The Descendants" were the large those who win from the evening, with Best Film wins for films in addition to Best Actor honours for Jean Dujardin and George Clooney. But there have been surprises within the mix too, including what's surely a globally approved victory for "Hugo" director Martin Scorsese, a script jerk for Woodsy Allen's "Night time in Paris" along with a Best Actress - Comedy award for Michelle Williams. Mind on to MTV News for the full listing of the 2011 Golden Globes those who win. Click for that 2012 Golden Globes those who win!

Kiefer Sutherland Returns to TV in touch: Bid farewell to Jack Bauer

Touch, Kiefer Sutherland Here's the primary one factor Kiefer Sutherland and Tim Kring want you to learn about their forthcoming Fox series Touch: It's nothing can beat 24. (Although we'd fun trying to attract critiques!) Whereas the terrorist-destroying, world-saving hero Jack Bauer was the kind of pent-up angst and repressed emotion, Sutherland's new alter ego, Martin Bohm, might be the precise opposite. Touch, the newest from Heroes boss Kring, notifies the story of widower Martin Bohm, the dad from the mute boy who provides hiding for that uncanny capacity for connecting designs and uncover this really is behind apparently unrelated occasions happening around the world. Start Searching: Watch Kiefer Sutherland make an effort to save the earth again in Fox's Touch Sutherland mentioned the advantage of playing Martin was his total contrast to Jack. "The possibility I'd in 24 wound up being to repress," he told reporters Sunday throughout Fox's winter TV preview. "[With Martin,] freely showing and becoming emotional reactions regarding the is happening in this exact moment is an additional fantastic chance." "In 24, the repression got heavier and heavier. Hopefully, this could become progressively more open," he mentioned. Also: Martin, unlike Jack, "reaches sit lower," Sutherland joked. "He reaches sit lower this will let you conversation." The:must-see new shows in the midseason As well as the versions don't finish there. Touch is certainly an unapologetically feel-good series, telling stand-alone, frequently sentimental tales of humanity's interconnectedness Heroes fans shouldn't expect the identical quantity of serialization. "Each week is really a different number of figures together with another slice-of-existence story," Kring mentioned. The solutions for the show's overarching mystery - the story behind Jake's gift - won't be overlooked, additionally they won't function as series' driving narrative. Kring isn't divulging any hints about people solutions yet either except to convey that Jake's abilities won't be treated like superpowers à la Heroes. Concurrently, "as storytellers, you need to reserve the idea to indicate that there are another factor, something supernatural or other, floating above this." More valuable to Kring is foregrounding Touch's uber-positive theme. "I've been considering this idea of interconnectivity for just about any super very long time. This really is really an chance to carry on I guess what happens you'd call 'social-benefit storytelling'... creating and marketing an positive energy in the world.In . See the trailer for Touch, which premieres Wednesday, Jan. 25 at 9/8c on Fox: