Starz Renews Kelsey Grammer's Boss Before It's Even Opened

Kelsey Grammer Starz has great belief in Kelsey Grammer's new series Boss: The network has restored the drama prior to the first season has opened. The eight-episode first season stars Grammer as Tom Kane, the mayor of Chicago who discovers he's struggling with a degenerative brain disorder and just has years to reside at the time of his gubernatorial campaign. Fall TV: Obtain the lowdown about this season's must-see new shows "The very first time we read Farhad [Safinia's] script, we understood we needed to make Boss," Starz Leader Chris Albrecht stated inside a statement. "With each episode, the storyline increased more potent, and also the cast ongoing to show in breakthrough performances... For the audiences, we felt it vital that you start focusing on the following season as quickly as possible." Production around the second season will start at the begining of 2012. Boss premieres Friday, March. 21.

Pop go the platforms

'House of Anubis' made the difficult transition from online property to TV for Nickelodeon'Pocoyo'With children as young as 2 increasingly exposed to digital media via Mommy's smartphone or Daddy's laptop, digital platforms once considered alternative have become essential branding tools for content aimed at moppets.While some properties have vaulted from a small digital presence to mainstream entertainment success, the linear TV show remains -- for now -- the key driving piece of the puzzle, even as the relationships between new and traditional platforms grow ever more complicated.Both large and small producers of children's shows put great importance on having a presence on all the relevant platforms, from smartphones and the Web to the new breed of tablet computers. Executives are unequivocal in touting the benefits of their audience -- and their audience's parents -- being able to connect in some way with their brands wherever and whenever they like.Viacom, owner of the Nick brand that includes such huge hits as "Dora the Explorer" and "SpongeBob SquarePants," adopts what it calls a 360-degree experience for each of its shows, says Philip O'Ferrall, senior VP of digital media for Viacom International Media Networks.Most shows begin life in any given territory with some kind of online footprint established in advance. The company offers simple apps, games and online video, as well as educational e-books for younger demos and social media and massive multiplayer online games for older ones.These platforms' value is in keeping the brand and audience connected as much as possible, extending the amount of time spent with the brand and driving viewers back to the linear TV experience."There's no question that continuing to live with the brand whilst not with the TV set is a great thing," O'Ferrall says.Trying to turn something into a profitable worldwide property without a TV presence is possible, though it remains exceedingly difficult in all children's demos, in all territories.Children don't go on the Internet to search and find content," says Nuno Bernardo, co-founder and CEO of transmedia company beActive. "They go to places they already know, so it's very difficult to promote and to connect with them on the Internet if you are not an established brand."Bernardo's company established an online exclusive show called "Sofia's Diary" that has since crossed over into TV and has now been adapted in more than 10 territories and sold more than a million books. He says that while new platforms are growing in popularity with kids, a good TV show remains essential.TV is still a key media, because it creates exposure and establishes credibility for your brand," he says. "Having a global online strategy associated with your TV program also allows producers to be less dependent on broadcasters and the best broadcast slots."Digital platforms also have a nimble quality that allows for a kind of grass-root marketing to pay off in ways it wouldn't for the mass medium of TV.Maria Doolan, managing director of brand and business development for Madrid-based Zinkia Entertainment, says the company's aggressive digital platform strategy for preschooler property "Pocoyo" paid off in some unusual ways."The show started becoming popular in targets that we hadn't previously expected would be consuming the show, basically teens and young adults," says Doolan. "We had a promotion in France for example, with a healthcare company which was only very regional and very small, and honestly after we approved it we didn't think much more of it. And when the promotion came out, I had the digital guys come to me and ask 'What on Earth is going on in France?' because all of a sudden we have thousands of people tuning in and watching."Pocoyo" was a pioneer in using platforms to maximum effect, and the show was designed with simple, clear images and shorter running times that would work well on TV as well as on smartphones, laptops and other platforms.But again, Doolan says none of the digital strategies would have worked if the show itself were no good."If you don't get the show right, there's nothing to do after that," she says.That isn't stopping people from experimenting. O'Ferrall cites "House of Anubis," which debuted as an online project and is now a Nick series, and "Monkey Quest," a popular game-driven Nick property that for now remains online only.But no one expects TV to lose its crown as king of the kid hill anytime soon for the simple reason that TV has a tried and true economic model that the Internet and digital platforms still lack."The costs of producing quality programming and quality content today are not being reduced drastically enough yet to be able to launch something properly if it's not via television or without television support," says Doolan."It's really important, I think, to engage with the audience where they are and at whatever time we can, and that often isn't linear," says O'Ferrall. "But ultimately, the big numbers always tend to be around the linear experience."VARIETY JUNIOR Blasts from past power int'l kids sales | Books and toys aren't fail-safe TV fodder | Kids animation making bigger international play | Toons in transition | Pop go the platforms | Disney Junior acing frosh year | DQE seizes opportunity in Indian animation biz | Shingle dabbles in 'Baby' babble | Argentina teen fare evolves in post-Cris Morena era Contact the Variety newsroom at news@variety.com

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Fantastic Fest: Jose Padilha Talks Oscar Entry Elite Squad 2, His Undertake RoboCop, and Individuals Fassbender Gossips

Following the prosperity of his 2007 cop drama Elite Squad, Brazilian filmmaker Jose Padilha switched his lens back on Rio p Janiero’s corrupt system inside a follow up, Elite Squad 2: The Enemy Within. A vital and commercial smash that set box office records and was selected as South america’s official Academy awards entry, Elite Squad 2 performed Sunday at Fantastic Fest where Movieline swept up with Padilha to go over why his incisive films have resonated in South america and also the philosophical questions elevated in the remake of RoboCop, that they’s presently writing. And what’s track of individuals Michael Fassbender casting gossips? Elite Squad would be a positive results in South america however the reception of Elite Squad 2 being greater. Exactly what do you attribute that to - why do you consider Brazilian audiences responded so well into it? The very first Elite Squad offered 2 . 5 million tickets the 2nd one offered eleven . 5 million tickets. Therefore it type of increased, a great deal, and grew to become a wonderfully popular film in South america. Why is that? It’s since it discusses something that's within the daily existence of each and every Brazilian that lives inside a large city, in ways that is not talked about before. It shows violence and where it comes down from, in the perspective of the violent policeman. Which perspective is not observed in Brazilian film before. The majority of the Brazilian films that worked with urban violence were shot in the perspective from the crooks - like Town of God, like Bus 174 that we did myself… which means you understand what it's which makes an undesirable kid violent and be a criminal and so forth. And also the police only be there to kill them however, you don’t understand why is a policeman violent. And So I made the decision, let’s consider the other part of the reality, following a existence of the guy within the Elite Squad. Are these kinds of corruption tales broadly known? Elite Squad and also the Enemy Within, both films derive from real occasions. There’s hardly any fiction inside. Not just would be the tales made from actual occasions, the moments are. So within the Enemy Within, whenever we open having a rebellion inside a jail, that happened. There's a left wing guy who’s attempting to mediate between your Elite Squad, that individual is available. It’s all obtained from reality, also it’s interesting since this is also a primary reason why this movie works so well in South america. People visit the movies saying, ‘Now I’m likely to know precisely what happened,’ that is not the same as the state media version from it, because I acquired the folks to create the script beside me. Was there ever any fear that subjecting these real occasions the ones with the film would place you in danger? No. Well, I had been prosecuted by cops and also the chief of police wanted me to provide a depositing to provide what they are called of all of the cops who assisted me. Do you consider they’re tapping your phone? I don’t think so, no… I change amounts constantly. [Laughs] But regardless, individuals official legal cases and stuff happened, however the film grew to become very popular it grew to become hard for that police to achieve that, since the governor from the condition would say, ‘Stop it’ since it’s not popular for any politician to visit against it. I believe if one makes a film and also you discuss, let’s say, the mob, and also you create a general movie about how exactly the mob works in the usa, that’s not likely to place you in danger. But when you decide to go following a specific gangster, that may enable you to get wiped out. My movie is general. I love to survive once i make my films. The outlet type of your film mentions Hollywood clichs, and flicks like Fast Five, for instance, have lately arrived at South america to illustrate a version of the items’s happening there from an outsider perspective. Well to begin with, whenever we say ‘Hollywood’… we’re speaking concerning the cheesy type of factor, not every one of Hollywood. Individuals formula films, they're generic. It doesn’t matter in which you make sure they are. For a film such as this to Rio, it’s for that scenery - it's nothing related to Rio itself because that’s not exactly what the movie’s about. You might take it to Japan if you want - actually, they did! It’s not local, you realize? The Short Five plot did involve corruption and native police in Rio… It did, however it’s so superficial it doesn’t matter. If put forth Japan, you are making a plot which has related to the Yakuza… it’s around the nose, which’s the character of individuals types of films. Not saying whether or not they’re bad or good, that’s what they're. So within the first type of The Enemy Within, Nacimento states, ‘It may seem just like a Hollywood clich, however it’s whenever you’re going to die whenever you understand your existence.’ Also it seems like a Hollywood clich, but that’s what he meant! [Laughs] The next film, RoboCop, finds you going in one police story to a different. Right! I’m kind of tied to cops. Would you visit a throughline there? It’s another type of factor, because my police movies in South america kind of evaluate social structures in South america and what's it that breeds violence, and what kind of violence it's? How individuals social structures create certain kinds of people, such as the lead role in Elite Squad. Therefore it’s a bit like social analysis of the specific location and put. RoboCop isn't about this it’s another type of film. Even searching in the first RoboCop, the industry film which i love, it’s not local for the reason that sense we have an acidity critique of society in general and in addition it handles different subject material that's more universal, like what exactly is it prefer to replace individuals with automatic systems? However the setting serves another purpose of computer does inside your other films? Well, it happens in Detroit but individuals questions are extremely true. Lots of jobs today are now being automated what goes on whenever you extend that concept to extremely important regions of society like police force? What goes on should you start manipulating the behavior of crooks or a lot of people with software-running machines? Individuals questions, they appear like they’re sci-fi however they’re not. Soon we’ll have robots in today's world, you’re going to possess a large amount of automated processes that was previously made by people - this really is happening. Society and technology is altering so quick, and also the impact from the change on society and technology is global, not local. RoboCop talks a bit relating to this. Exactly what does it mean to exchange an individual or enhance an individual by utilizing technology? Exactly what does that towards the person themselves? What kind of drama will it create, what kind of philosophical questions lurk behind individuals things? Therefore it’s completely different despite the fact that it’s a cop movie, it’s greater than a cop movie. You gave a job interview that you pointed out you’d like Michael Fassbender for that lead. I really like Fassbender, but that’s an interesting factor. I really like lots of stars and that i was giving this interview for any Nederlander newspaper since the Enemy Within was opening in Holland, and also the guy was like, ‘You’ve reached say, who’s likely to be RoboCop??’ However I like lots of American stars! I love Fassbender, I love Chris Pine! He then printed which i loved Fassbender. I really like Fassbender however i haven’t even talked about RoboCop with him. He’s great. You will find lots of great stars. What characteristics are you currently searching for inside your RoboCop? Listen, I love great stars. You may be a superstar without having to be an excellent actor - it has been demonstrated several occasions - and that i like my casts to possess great stars. Acting is much more vital that you me than as being a star. I seem like for those who have an excellent plot, for those who have an excellent script, acting is going to do it for you personally. That’s my approach. Now, if you'll have a great actor who is another superstar, because which is available, that’s the very best factor. Which’s things i’m searching for inside a RoboCop. How have you approach casting for Elite Squad, through the same method? Wagner Moura is both things in South america - he's an actress along with a superstar. He is a superb actor. He's done among the best Hamlets I’ve observed in my existence, and that he’s now doing a united states film with Matt Damon, he’s shooting it in Canada, and everyone are likely to observe how good he's. He’s immediately with any actor any place in the U.S. or perhaps in Europe, but he’s in South america so people don’t know him yet. Therefore it would be a no-brainer casting Wagner for me personally. I didn’t uncover him, he had been there. It’s correct that with Elite Squad he grew to become bigger which’s what kind of gave him the superstar factor, however, you often see already. You can observe how good he was. Really, he’s the very first individual who ever browse the script. I authored considering him. I additionally loved your Matias, Andre Ramiro. He’s an excellent guy - he wasn't an actress. Guess what happens he did before I cast him? He was selling tickets inside a cinema. He’s a rapper. He just turned up to auditions and that he came, while he loved movies and offered tickets in theaters, and that he were built with a sense of improvisation from as being a rapper. Due to his background he understood how slums labored he was created and elevated in a single. So he understood the way the police labored, and just how the drug trade labored, while he worked together on the daily basis. He gave a great performance within the audition and that i just made the decision, let’s purchase this person - let’s prepare him for 2 or 3 several weeks before we begin shooting, and try it out. Now he’s an actress. Now he’s doing cleaning soap operas! An execllent casting relocate The Enemy Within is available in the outlet sequence, whenever we watch Seu Jorge begin a prison riot. How did which come about? Seu Jorge is really a genius. He is really. He's a man that has an incredible feeling of rhythm, music-smart, he’s an excellent singer, he’s an excellent composer, and that he’s a born actor. If he made the decision to become an actress rather than a singer he’d be among the best stars in South america. He’s much like which i did no testing with him whatsoever. We simply met eventually prior to the shoot, I spoken a bit by what it ought to be after which, ‘Let’s go!’

'Violeta' is Chile Oscar entry

Chile's Audiovisual Arts Council has submitted "Violeta," by helmer Andres Wood, to represent the country in the foreign-language film category at the Oscars. A special committee of some 40 reps from various guilds selected the pic. "Violeta" was up against Pablo Larrain's "Post Mortem," which played in competition at the Venice Film Festival in 2010, and Oscar Godoy's debut feature "Ulysses," both produced by Fabula Films. Biopic is Wood's personal vision of Chilean folksinger, poet, activist and painter Violeta Parra. "She was Chile's Edith Piaf or Bob Dylan," said Wood, who marks his second attempt at the big prize. His coming-of-age drama "Machuca" was Chile's entry for the 2005 Oscars. Pic bowed Aug. 11 in Chile, where it ranked in the top two spots during its first three weeks. "Violeta" has no U.S. distribution or international sales agent as yet. The deadline for all countries to send in their submissions is Oct. 1. The 84th Academy Awards will be held Feb. 26 at the Kodak Theater in Hollywood. Contact the Variety newsroom at news@variety.com

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Hot Trailer: 1911

In this clip from 1911 released today, Jackie Chan shows Huang Xing, the initial commander-in-chief in the military in the Republic of China. The film marks the 100th anniversary in the Xinhai Revolution and founding in the Republic of China. It’s also being billed as Chan’s 100th film. He co-directs with Li Zhang. It opens in China a couple of days ago too as with the U.S. on October 12.

James Cameron talks 3D at Summit

'Avatar' director James Cameron speaks at Variety's 3D Entertainment Summit Wednesday in Hollywood.Audiences are right to push back against premium ticket prices for 3D, according to James Cameron, especially for converted 3D titles."The way it's being done, it's not 3D, it's 2.2D, or 2.4D," Cameron told the audience at Variety's 3D Entertainment Summit.Cameron knows a little something about conversion. He's currently working with Fox to release a 3D version of his 1997 blockbuster "Titanic," a process that's costing the studio $18 million and a whole year's time."I think we're coming out with something that's 90% of what it would have been if it was shot in 3D, but that's not always being done," the helmer said, noting that studios don't often want to spend the money or the time on every conversion process. "As a filmmaker, I would much rather shoot in 3D than convert to 3D to get an equal outcome."Cameron spoke to Variety's David Cohen along with Vince Pace, with whom Cameron is a partner in the Cameron/Pace GroupThe decision whether to shoot in 3D or convert is often a budgetary issue. Studios, Cameron says, often decide to shove conversion into a post-production process to shave money off the cost of a film."It's being shoehorned into a postproduction process and there's neither the time or the money to do it right," Cameron says. "All of a sudden, the director is being told that the movie has to be in 3D but you can't shoot it in 3D. That to me is a complete misapplication of 3D because you've just taken away all the creativity you can haveat the stage of photography."Part of the problem, he says, is that conversion is less of an objective, automatic process than the studios take into account."There's not some magic wand software that does itit's a bunch of artists sitting at screens using their subjective judgment."The expense and time required to do a 3D conversion right is part of the Cameron/Pace business model. The duo are offering a certification program that aims to provide quality assurance for producers and studios. With the Cameron-Pace certification -- which requires a commitment to use Cameron-Pace gear exclusively -- a production company can promise that the company behind the 3D images in "Avatar" will be working with them. Evergreen Studios is the first to get the CPG certification."We compete against our own vision of what happens next," Pace told the audience. "We're like backyard drag racers. We build the car and then we race the car."The parallel to 3D's path, says Cameron, is TV broadcasting. The ubiquity of color TVs in the 1960s forced the studios to start making films in color, an event which Cameron compares to shifts in the 3D landscape."At first it was just the big movies then color TV came along and in one year, every movie was in color because they had to be, because they had no library value if they didn'tit's going to be the same thing (with 3D)."That means more content available for home use in the near future. In fact, the broadcast potential for 3D pics over the next few years influenced Cameron on how he wanted to shoot the next installment of "Avatar." The director originally wanted to shoot at 48 frames per second, ultimately deciding on 60 fps when he realized that viewers would be able to view that in the home. But the helmer doesn't thinks 3D needs to be confined to the big-budget pics. Using the technology sparingly in a drama, Cameron argued, could help the audience feel an intimacy with the characters they wouldn't get in 2D.For a relatively small cost, you've had an enormous impact on the audience. And I think that's the thing that everybody have been missing."While those intimate moments exist in big studio films, they can be eclipsed by the action and flair of an "Avatar" or "Titanic" in 3D.Like many speakers at the conference, Cameron and Pace poopoohed the notion that 3D isn't doing well, arguing that the 3D box office is up 40% year over year for the past four years. In fact, with more 3D pics unspooling than ever before, some exhibs still don't have enough screens equipped to show all the product available.The theaters, frankly, aren't keeping up," Cameron said, adding that the exhibitors are "cannibalizing business from each other," forcing some of the 3D ticket sales to go to 2D screens.We need to double down on the number of screens ... (but) I think it's a question of it being a growth pain and not a contraction."Perception and reality have diverged mostly as the result of the media trying to spin a story that's a negative story," Pace added. Contact Rachel Abrams at Rachel.Abrams@variety.com

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2 Budding Stars Choose Broke on '2 Broke Girls'

SHERMAN Trees, Calif. (AP) The gals who take part in the 2 broke women are cracking one another up.His or her interview happens at the end of This summer, Janet Behrs and Kat Dennings can count a great total of 1 week spent cooperating. Which was once they shot the pilot for "2 Broke Women" which is at April.But joining a reporter in the morning at Mel's Drive-in, a Valley landmark, they share laughs along with a chemistry that appears years within the making just like they are doing on the sassy new comedy as battling waitresses in a Brooklyn greasy spoon. ("2 Broke Women" premieres Monday at 9:30 p.m. EDT, before settling into its regular slot on Sept. 26 at 8:30 p.m., hammocked between your CBS hits "Generate An Income Met Your Mother" and "2 . 5 Males.")While awaiting production to resume at the begining of August, they hard their friendship.Kat: "We have been checking along with one another every couple of days."Janet: "I'll at random text Kat about something I am watching on television in the center of the evening: 'You need to visit this! ' "Kat: "Like, ' "Extreme Transformation" did WHAT?!' "No actorly trades about process or technique?"Oh, no!" Janet laughs. "We do not discuss work on all.""Should we?" poses Kat, her eyebrow elevated.Orders are taken. Janet selects an omelet and hash browns. Kat requires wheat toast and, more urgently, a mug of joe."Nectar!" she rejoices once the coffee arrives. "And it is pretty good.""I love diner coffee," Janet concurs as her mobile phone sounds off."Oh, gee," she sighs after checking the amount displayed. "This person continues to be calling me all morning. I do not say my title on my small message, so perhaps he thinks I am another person. He keeps departing these intense, lengthy messages.""Allow me to get it done, allow me to get it done!Inch states Kat, eagerly snatching the telephone and, within the guttural tone of the longshoreman, growling in it: "WHAT!!! Who's this? WRONG number! NEVER call again!!!"Both of them dissolve into laughter."Which makes me SO happy!" Kat giggles.On "2 Broke Women," their figures will form an identical bond. Although not instantly. First, they need to size one another up.Kat plays sarcastic, street-smart Max Black, who, to pay the bills, must work two jobs, one of these may be the evening change in the downtrodden Williamsburg Diner.Janet plays chic Caroline Channing, whose ritzy Upper East Side lifestyle has abruptly come un-tied after her money-manager father got busted for financial shenanigans. Like Max, Caroline has become broke, too, and it is seeking refuge in the diner waitressing alongside Max, who warily receives her not just like a co-worker but like a flat-mate, too.So not just is "2 Broke Women" a pal comedy, it is also a seafood-out-of-water sitcom, with Caroline the Brooklyn-beached seafood.The dialogue is snappy, suitable for the show's topflight creative team: Michael Patrick King ("Sex and also the City") and Whitney Cummings (TV's comedy "It" girl who's symbolized about the fall schedule with this show in addition to her new starring sitcom, "Whitney," on NBC).But beyond its writing, the charm of "2 Broke Women" comes lower to its 2 leading ladies.In playing their roles, both of them talk about attempting to avoid stereotypes."Caroline is really a girl who accustomed to go out of her NY high-rise having a vehicle waiting and someone there to hands her a Local cafe," states Janet. "That i can play her, I needed to discover the entitlement without having to be a bitch.""Caroline's really sweet and innocent and adorable," Kat declares. "I believe this is a fresh approach.""And she's wise," Janet adds. "She visited Wharton business school. I do not think Max might have come to her if she were not wise.""Max is increasingly more impressed with Caroline as she reaches know her," Kat concurs."And since Max requires a liking to Caroline, it shows she's greater than a tough cookie," states Janet.Both stars are 25 and hail from Pennsylvania. But you will find distinct variations.Janet, whose credits include theater along with the movies "American Cake: Book of affectionInch and also the approaching indie comedy, "Serial Pals," is really a whippet-slender blonde by having an unpredicted past playing competitive soccer in class.Kat is really a curvy brunette with smoldering eyes and alabaster skin. Her listing of films includes "The 40-Year-old Virgin" and "Nick and Norah's Infinite Playlist," and, about ten years ago, she performed Bob Saget's teenage daughter on his short-resided TV comedy "Raising Father."Regardless of the sexy Mutt-and-Shaun contrast they strike, the 2 women, strangely enough enough, stand comparable height."I am 5-ft-5," Janet reviews. "However the footwear cause me to feel 6 ft. Individuals beautiful Louboutins! However when I had been putting on them it had been very hard to not hang onto Kat, 'cause I am really clumsy.""I am just below 5-ft-4," Kat states. "But Janet and that i take presctiption such different scales: She's on the Barbie dolls scale, and I am on the G.I. Joe scale. MY mind is much like two occasions how big HER mind!""Your mind does not look any bigger in my experience than my mind," Janet demands.Kat had been signed for "2 Broke Women" when she and Janet met last winter for which was the final step of Beth's audition process."My final test ended up being to appear with that one," states Janet, gesturing toward Kat, who at that time was filming "Renee," an indie drama by which she stars like a teen who battles addiction and depression."She am great!" Janet states. "She travelled from Florida where she was filming her movie for literally two hrs, only for my audition, after which travelled back.""However they had already sent me all of your tapes," Kat recalls, "and that i viewed them and thought, 'Do what is required test her? She's clearly the individual. Just hire her!' ""Later on that day,Inch states Janet, "I acquired the phone call.InchOther than they needed to wait to ascertain if CBS would get the series."The greater days that passed, the greater doubts I'd,Inch Kat states. She was in La and also at the wheel of her vehicle when she got what's promising from Whitney Cummings."She texted me," states Kat, "and that i stopped and cried because, I could not drive and cry.""I cried, too," Janet states. "I still had my baby-sitting job, and that i was moving to an alternative apartment and was transporting a box when Whitney texted me. I Quickly texted Kat."Just like that, Kat and Janet were poised to become 2 breakout sitcom stars.Copyright 2011 Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten, or redistributed.

Gentilli upped at Mark Gordon Co.

Mark Gordon Co. has upped Veronica Gentilli to chief operating officer. Formerly senior V . p . business matters, she'll oversee business development, legal matters, human assets and general methods for that organization. Gentilli started in the organization in 2007 getting visit from ABC Art galleries, while V . p . of economic matters her responsibilities incorporated shepherding Gordon-produced series including "Grey's Anatomy." Right before ABC Art galleries, Gentilli offered stints in the commercial matters divisions of huge Ticket TV, Viacom Prods. and Vital Domestic Television. Gentilli will account to Gordon. Contact Andrew Wallenstein at andrew.wallenstein@variety.com

Chris Grant joins Electus as Boss

Reality skein "Mob Spouses," which opened last spring on VH1, is among the shows about the front burners at Ben Silverman shingle Electus. SilvermanGrantBen Silverman has drawn on longtime lieutenant Chris Grant for everyone as Boss of his fast-growing Electus production and distribution company because it prepares for any growth spurt in the content procedures.Grant, who left as prexy of Shine Intl. in May, will formally begin his new gig on November. 1 and will also be located in La. His mandate would be to help the organization scout for producer close ties and potential company purchases, mainly in the U.S. and also the U.K., and oversee the development of their TV, digital and top quality entertainment procedures.Grant works carefully with Electus chief operating officer Came Buckley, who is constantly on the are accountable to Silverman and keeps oversight of digital, advertising, finance and M&A activities in addition to control over the business's business associations with Yahoo, Microsoft and Google.Grant stated he was wanting to reunite with Silverman in a moment when Electus is poised to construct rapidly about the foundation built throughout the 2 years since Silverman released the organization together with Craig Diller's IAC."The energy of possessing privileges and formats hasn't been more obvious to us," Grant told Variety. "To construct the corporation towards the scale you want to construct it to, it begins with privileges and possession."About ten years ago Grant was one of the founding executives of Silverman's Reveille banner, that was eventually bought out by Elisabeth Murdoch's Shine Group in 2008 after Silverman decamped for his turbulent two-year run as NBC Entertainment topper. Before Reveille, Grant was trained in the skill of worldwide-privileges wheeling and dealing by Silverman when both labored for that William Morris Agency within the the nineteen nineties.At Reveille and Shine, Grant's focus was on worldwide sales and distribution. At Electus, his attention is going to be a lot more about the domestic front, where he and Silverman see ample possibilities for production company purchases and producer close ties."It is a perfect time for Chris to become listed on the organization," Silverman stated. "He will be accelerate and allow us to manage our growth once we build off our existing base."Although there's an abundance of competition at this time among mid-sized distribution organizations competing for unscripted format privileges, Grant asserted that Electus includes a strong feature to prospective partners.To begin with, Reveille were built with a strong history like a pioneer and innovator with worldwide format certification, top quality entertainment deals and original digital content, varying in the U.S. adaptations of "Work,Inch "Ugly Betty" and "The Tudors" towards the retailing juggernaut of NBC's "Greatest Loser Franchise" to Reveille's early Content partnership with MSN and blue-nick marketers. With IAC's backing, Electus has got the deep pockets and also the close ties to build up original content in creative ways -- like beginning a show on the web or perhaps in a foreign market before shopping it within the U.S. market, where nets typically drive a tough bargain of demanding possession."Using the mixture of Ben, Came and myself, we are able to show a producer that we understand how you can drive value through multiple distribution channels, and that we can introduce their suggestions to the greatest marketers on the planet,Inch Grant stated.Electus' existing content partners range from the CollegeHumor comedy website Will Arnett and Jason Bateman's DumbDumb shingle and production companies 5x5 Media, Notional and DiGa, the second run by MTV alums Tony DiSanto and Liz Gateley.Among Electus' active roster of unscripted skeins are VH1's "Mob Spouses," NBC's approaching "Fashion Star," located by Elle MacPherson BET's "Masters of Mix" and Spike TV's "Vehicle Boss." Contact Cynthia Littleton at cynthia.littleton@variety.com

Roland Emmerich Preferred release a 'Anonymous' Anonymously

Roland Emmerich knows everything you consider him. "Online assets Disaster," famous for pointing films for instance '2012' and Independence Day,' gleefully appreciated his status throughout the interview in regards to the new Shakespeare conspiracy film 'Anonymous' within the Toronto Worldwide Film Festival on Sunday. You will discover no explosions in 'Anonymous' as well as the world isn't concerning the fringe of disaster -- might be the director worried audiences won't have a "Roland Emmerich Shakespeare film" seriously? "You will discover a number of things out of this movie," Emmerich confesses -- his status being one of these simple. So, why didn't Emmerich possess a signal using their own movie and release it anonymously? Since it calculates, that was his initial plan. "I desired to," he described in Toronto in the last weekend. "However, you could not do that. The studio only provided the money since they could sell it off under my title. But it's a little such as this, too, because people are merely stunned it's from me. They're always [asking], 'How difficult can it be to produce the flicks that we normally do? You think you might be brain damaged carrying out these movies?' It's just like every public perception. It's the same component that suddenly transpires with Michael Bay those such as this. Everybody thinks we're kind of idiots." Go back to Moviefone soon for further from Emmerich about 'Anonymous' the film hits theaters on March. 28. You'll be able to contact Mike Ryan on Twitter. Follow Moviefone on Twitter. Image because of Getty

WATCH IT NOW! Brand New Breaking Dawn Teaser Trailer!

FIRST PUBLISHED: September 9, 2011 8:33 PM EDT LOS ANGELES, Calif. -- Forever is only the beginning!. and the beginning is getting closer! AccessHollywood.com has unveiled the brand new teaser trailer for The Twilight Saga: Breaking Dawn Part 1. CLICK HERE to watch it! The 15-second teaser shows newlyweds Bella (Kristen Stewart) and Edward (Robert Pattinson) dealing with the dangers the newest member of their family has brought, with a pregnant Bella being forced to cope with the difficulties of her pregnancy. Its crushing you from the inside out, a worried Edward tells his new bride in the clip. In addition to the teaser trailer, Access Hollywood will have the world broadcast premeire of the BRAND NEW FULL trailer on Tuesdays show (check local listings). The full trailer will also be posted on AccessHollywood.com on Tuesday, September 13 at 8 PM EST/5 PM PST. The Twilight Saga: Breaking Dawn Part 1 starring Robert Pattinson, Kristen Stewart and Taylor Lautner hits theaters on November 18, 2011. Copyright 2011 by NBC Universal, Inc. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

The Hangover 2 Full Movie

This Month in Movie History: A September 2001 Timeline

For Hollywood, September 2001 started out like any other September, full of film festivals, dealmaking, and the release of Oscar-bait movies. Of course, like everything else in America, the movie business was shocked and horrified by the events of 9/11 and quickly came together to respond to the tragedy. Looking back a decade later at the events of that month, it's remarkable how quickly things returned to business as usual. Hollywood kept greenlighting the same kinds of movies, and stars kept behaving (aside from their generosity in the days after the attacks) with their usual personal abandon. Here's a timeline of the movie news of September 2001, full of both landmark events and typical Hollywood business. The Week of Sept. 1 - 7 September 1 • Anne Heche marries cameraman Coley Laffoon. The couple will split in 2009. • Geena Davis marries plastic surgeon Reza Jarrahy, who is 15 years her junior. It's the fourth marriage for the 45-year-old Oscar-winner. The union will produce three children. September 2 • Low-budget horror flick 'Jeepers Creepers' surprises with a strong $13.1 million opening to win the Labor Day weekend box office. September 3 • Kate Winslet announces her separation from director Jim Threapleton, her husband of three years and father to their daughter, Mia. • John Grisham's recently filmed movie 'Mickey,' starring Harry Connick Jr. as a father who enrolls his too-old son as a Little League ringer, is delayed by its similarity to the real-life scandal of overaged Little League World Series star Danny Almonte. The movie will sit on shelves for another three years before vanishing at the box office after a limited 2004 release. • Influential New Yorker film critic Pauline Kael dies at 82. September 4 • Mark Ruffalo has to drop out of M. Night Shyamalan's 'Signs' because of ear surgery. Joaquin Phoenix replaces him in the alien-invasion drama that will become one of 2002's biggest hits. September 5 • The new 'Austin Powers' sequel gets a title: 'Austin Powers in Goldmember.' Mike Myers gets a reported $25 million for the third installment. The film will go on to become a big 2002 hit and launch Beyoncé's film career. September 6 • Chicago Little League coach Bob Muzikowski unsuccessfully sues Paramount to stop the Sept. 14 release of 'Hardball,' a movie loosely based on his life, arguing that the film defames him by showing the coach (Keanu Reeves) pushing the kids and has scenes of the players using profanity -- both violations of league rules. September 7 • George Clooney plans to reunite with his 'Peacemaker' co-star Nicole Kidman for his directorial debut, 'Confessions of a Dangerous Mind.' Eventually, Clooney will make the movie with Julia Roberts instead and release it at the end of 2002. The Week of Sept. 8 - 15 September 9 • 'The Musketeer' debuts at No. 1 with $10.3 million, on its way to a total gross of $27.1 million. It defeats two fellow newcomers: the Vivica A. Fox romantic comedy 'Two Can Play That Game' and the Mark Wahlberg-Jennifer Aniston musical drama 'Rock Star.' September 10 • Sam Rockwell signs on to play the lead role in George Clooney's 'Confessions of a Dangerous Mind.' • Keanu Reeves tells the press at the Toronto Film Festival that he appeared in the previous year's serial killer thriller 'The Watcher' only because a friend forged his signature on the contract. September 11 • In the wake of the morning's terrorist attacks, most of show business grinds to a halt. In Los Angeles, movie production shuts down. In New York, entertainment companies' corporate headquarters are evacuated. Movie theaters throughout the nation shut down. The Union Square cineplex in downtown Manhattan becomes an ad hoc shelter. • The Toronto Film Festival cancels all of the day's planned screenings. Celebrities there to promote their films are stranded as North American airports shut down. • Studios start rethinking the releases of completed films with potentially insensitive content. Disney's 'Big Trouble,' a comedy that involves the smuggling of a nuclear bomb aboard a jetliner, gets pushed back from Sept. 21 to an indefinite date in 2002, and its press junket is canceled. Warner Bros. delays the scheduled October 5 release of Arnold Schwarzenegger's 'Collateral Damage,' involving the destruction of a skyscraper by terrorists, until the following year, and the studio takes the movie's website offline. Sony yanks the trailer for 2002's 'Spider-Man,' which contains footage of Spidey using a giant web to trap a helicopter between the tops of the twin towers of the World Trade Center. September 12 • Independent film companies housed in lower Manhattan, including Miramax, Artisan, and Good Machine, remain shut down and inaccessible. • Paramount Classics decides to postpone the scheduled September 21 release of 'Sidewalks of New York,' Edward Burns' suddenly frivolous Manhattan romantic comedy. September 13 • Entertainment conglomerates, including AOL Time Warner, News Corporation (parent of 20th Century Fox), Disney, and Viacom (parent of Paramount), pledge millions of dollars in aid to families of emergency workers who responded at the World Trade Center and the Pentagon. The Screen Actors Guild pledges $50,000 to the first responders' families. • Sony revises plans for shooting the climax of 'Men In Black 2,' which was to have taken place at the World Trade Center. The new climax will take place at the Chrysler Building and will require changes only to the green-screen background in post-production. • DreamWorks decides not to postpone the October release of 'The Last Castle,' about an uprising at a military prison, but it pulls ads showing the American flag flying upside-down as a distress signal. • Oscar-nominated actress Dorothy McGuire ('Gentleman's Agreement') dies at 85. September 14 • 'Hardball' and 'The Glass House' are released as scheduled. Prints had been shipped to theaters before the terrorist attacks halted all air travel. • Though Robert De Niro's restaurants and production company, housed in TriBeCa (just north of the World Trade Center), have been shuttered all week, he gets his chefs, along with other top New York restaurateurs, to organize a food drive for relief workers, ferrying 500 meals at a time by boat to lower Manhattan. Months later, De Niro will help revitalize the economically devastated neighborhood and its many independent film companies by launching the Tribeca Film Festival, which is now gearing up for its 11th edition next spring. •'The Time Machine' gets an indefinite postponement, due to scenes involving the destruction of New York by fragments of the exploded moon raining down on the city. • Julie Andrews, Mira Sorvino, Anthony LaPaglia, and Barbara Hershey drop out of scheduled appearances at Spain's San Sebastian Film Festival. Andrews, who was to have received a lifetime achievement award, says it would be insensitive to celebrate herself "while the entire world is mourning." The Week of Sept. 16 - 22 September 16 • 'Hardball' grosses just $9.4 million at the box office, but that's enough to win on a weekend when no one feels much like going to the movies. The sports drama eventually earns $40.2 million. Debuting in second place, thriller 'The Glass House' earns $5.7 million, on its way toward an $18.0 million gross. September 17 • Tom Hanks, George Clooney, and Jim Carrey are the first movie stars to sign on to an all-star relief telethon scheduled for Sept. 21. • New York City begins issuing film permits for Manhattan again, now that borough police who were busy at Ground Zero are freed up to watch over movie shoots. • Another film postponed over imagery is indie drama 'People I Know,' which contains a shot of the World Trade Center towers on their sides, as seen through the perspective of a woozy Manhattan publicist (Al Pacino). Director Dan Algrant's home and editing room, both in Lower Manhattan, have been inaccessible since the attacks. The film eventually is released in the U.S. in 2003. September 18 • The Oscar ceremony is supposed to move to the new Kodak Theatre on Hollywood Boulevard in 2002, but the Academy threatens to keep it at the Shrine Auditorium unless the mall where the new theater is located agrees to beef up security, including a bomb sweep on the day of the show. • Tom Cruise, Julia Roberts, Cameron Diaz, Will Smith, Robert De Niro, Clint Eastwood, and Robin Williams sign on for the weekend's TV telethon, now dubbed 'America: A Tribute to Heroes.' • Screen Actors Guild president William Daniels phones President George W. Bush and offers the services of movie stars in whatever way the White House sees fit. The union says that the call is "warmly received" and that the administration may enlist stars for personal appearances, public service announcements, and fundraisers. Other outreach efforts between the administration and Hollywood will follow over the next few months, but little will come of them beyond a TV movie, 'DC 9/11: Time of Crisis,' which critics will argue paints the Bush administration's reaction to the attacks in far too rosy a light. September 19 • Jim Carrey pledges $1 million to the families of the victims. • Disney postpones the Christmastime release of action comedy 'Bad Company,' in which spies Anthony Hopkins and Chris Rock must thwart terrorists threatening to blow up lower Manhattan with a nuclear bomb. The film flops when released in summer 2002. • Indie distributor Lot 47 postpones the U.S. release of Canadian dark comedy 'Waydowntown,' which includes a fantasy scene of bodies plummeting from an office tower. The film gets released in a handful of theaters in early 2002. September 20 * Hollywood studios go on lockdown after the FBI alerts them to a possible terrorist threat in response to any potential U.S. bombing of Afghanistan. On the studio lots, tours and screenings are canceled, audiences for TV tapings are sent home, all packages are X-rayed, metal detectors are installed, and armed guards are posted. Nervous employees at Universal and Sony go home. The threat never materializes. • Movie stars added to the roster for 'America: A Tribute to Heroes' include John Cusack, Danny DeVito, Goldie Hawn, Salma Hayek, Jack Nicholson, Al Pacino, Brad Pitt, Chris Rock, Meg Ryan, Adam Sandler, Sarah Jessica Parker, Lucy Liu, and Sylvester Stallone. Some will make on-air fundraising appeals; others simply volunteer to man the phone banks and take pledge donations. • Postponed by nine months is the September shoot for the Jennifer Lopez thriller 'Tick-Tock,' in which she is to play an FBI agent who must find a series of ticking terrorist time bombs placed throughout Los Angeles. As it turns out, Lopez will never make the movie. September 21 • 'America: A Tribute to Heroes' attracts as many as 89 million viewers and raises $200 million for the United Way's September 11 Telethon Fund. It provides the model for ad hoc disaster relief telethons throughout the next decade. One of the telethon stars, Julia Roberts, pledges $2 million of her own money. • The Academy settles its security dispute with the Hollywood & Highland mall, allowing the Oscar ceremony to move to the new Kodak Theatre in 2002 as scheduled. The Academy Awards are still held there to this day. • Director Barry Sonnenfeld, whose movies 'Big Trouble' and 'Men in Black 2' were both affected by the attacks, says he has no idea how 9/11 will change film. "Anyone who says they know what will happen with Hollywood is wrong," he tells TV Guide. The Week of Sept. 22 - 31 September 23 • 'Hardball' remains the No. 1 movie at the box office, earning another $8.1 million. • Mariah Carey's musical 'Glitter' becomes one of the most notorious flops of recent years, opening at No. 11 and grossing just $2.4 million on its way to a total haul of just $4.3 million. September 24 • Chris Rock and Jamie Foxx are among the performers who offer their services to the USO, should they be called upon to entertain American troops fighting abroad. Over the next decade, with Americans fighting in Afghanistan and Iraq, there will be many such USO tours involving a broad spectrum of stars. September 25 • Greenlit movies include romantic comedy 'Deliver Us From Eva,' starring LL Cool J and Gabrielle Union, and action movie/spy thriller 'xXx,' starring Vin Diesel and Samuel L. Jackson. 'Eva' makes barely a ripple at the box office in 2003, but 'xXx' becomes a blockbuster hit in summer 2002 and spawns a sequel. September 26 • Arnold Schwarzenegger sues a gaming company for $20 million over a line of 'Terminator'-themed slot machines using the star's image without his permission. • Both Sandra Bullock and the Academy make $1 million pledges to relief efforts. September 27 • Paul McCartney announces plans for an all-star fundraiser at Madison Square Garden, to be telecast live on Oct. 20, called 'The Concert for New York City.' Among the movie stars scheduled to appear are Jim Carrey, Gwyneth Paltrow, and John Cusack. McCartney commissions legendary documentarian Albert Maysles -- who co-directed 'What's Happening! The Beatles in the USA,' a chronicle of the band's triumphant arrival in New York in 1964 -- to follow him around the city again as he prepares for the benefit. The show turns out to be a rousing success and raises $35 million, but Maysles' footage goes unseen by the public until September 2011, when the finished film, 'The Love We Make,' debuts on Showtime. • Blockbuster video stores start labeling recent releases thought to have content that viewers might consider disturbing following 9/11. The first film labeled is the explosion-filled 2001 thriller 'Swordfish.' The video chain also cuts its order for copies of the film by 30 percent. There's no label for older movies that touch on terrorism, like 'Die Hard' and 'The Siege,' which become popular rentals in the wake of the attacks. • Angelina Jolie donates $1 million to a United Nations fund targeted toward Afghan refugees. In July, she'd visited Afghan exiles in refugee camps in Pakistan, camps whose ranks would likely swell if the U.S. were to attack Afghanistan. For years to come, Jolie's movie career and her philanthropy in humanitarian crisis zones and her movie career would run on parallel tracks. In 2007, she'd earn acclaim for 'A Mighty Heart,' playing Mariane Pearl, widow of journalist Daniel Pearl, captured and beheaded in Pakistan in 2002. September 28 • Ben Stiller's 'Zoolander' becomes the first film altered because of 9/11 to reach theaters; the twin towers had been digitally scrubbed from shots of the New York skyline that included the World Trade Center. • MGM bumps Nicolas Cage's World War II drama 'Windtalkers' from November to summer 2002 out of fear that moviegoers won't want to see a war movie, or that another barrage of nonstop TV emergency news coverage could spoil the film's expensive ad campaign. • Richard Gere lands the male lead, opposite Renée Zellweger and Catherine Zeta-Jones, in 'Chicago.' The Broadway musical adaptation is released in 2002 and wins several Oscars, including Best Picture. • Arnold Schwarzenegger and Maria Shriver donate $1 million to the Twin Towers Fund, benefiting families of emergency workers. September 30 • 'Don't Say a Word,' a creepy kidnapping thriller starring Brittany Murphy and Michael Douglas, debuts at No. 1 with $17.1 million. Over the course of its run, it earns $55.0 million and becomes one of the biggest hits of Murphy's career. • 'Zoolander' opens in second place with a solid $15.5 million. Eventually, Ben Stiller's fashion-world satire earns $45.2 million and becomes a cult favorite. Follow Gary Susman on Twitter @garysusman 'Hardball,' 'Glitter' and 'Zoolander' photos courtesy of Everett. 9/11 and Oscars photos courtesy of AFP/Getty Images. Robert De Niro and Paul McCartney photos courtesy of Getty. Jim Carrey photo courtesy of AP.