Kim Kardashian Drops the Fairy Tale in Borderline Depressing New Glamour Interview

The nominations for the 27th annual Independent Spirit Awards were revealed this morning, and were dominated by The Weinstein Company's The Artist and Sony Pictures Classics' Take Shelter, which scored five nods each. Historically, Indie Spirit winners have tended to get nominated for -- but lose -- at the Oscars. That could change this year, however, with The Artist and The Descendants, two films that have both resonated as strongly as any with Academy members thus far, both nominated for best feature, best director and best screenplay.our editor recommends'The Artist,' 'Take Shelter' Dominate Indie Spirit Award NominationsThe Making of 'The Artist'The Making of 'My Week With Marilyn'Take Shelter: Film Review PHOTOS: The Making of 'The Artist' The Artist, The Descendants and Take Shelter will compete for best feature with Beginners (the big winner at last night's Gotham Awards), Drive, and 50/50. Bizarrely, Woody Allen's Midnight in Paris, which is one of the likeliest best picture Oscar nominees, was denied a spot in this category (as well as best director and best screenplay), even though it was nominated for best supporting actor (Corey Stoll) and best cinematography. Drake Doremus' Like Crazy, which also seemed to be a likely nominee, was also snubbed. PHOTOS: 'The Descendants' Premiere Red Carpet Arrivals A few other films were left out of the major categories for other reasons: Terrence Malick's The Tree of Life, with its $32 million budget, was too big to pass as an indie for this group. Meanwhile, three critics' favorites with Oscar aspirations -- Lars von Trier's Melancholia, Steve McQueen's Shame and Lynne Ramsey's We Need to Talk About Kevin -- were deemed to be foreign films and therefore ineligible outside of the category alotted for those. PHOTOS: Gotham Awards Red Carpet Arrivals Lastly, two inexplicable snubs occurred in the lead acting categories: George Clooney, the star of The Descendants, was left out of the best actor race, while Glenn Close, the star of Albert Nobbs, was left out of the best actress field-- even though her co-star Janet McTeer was nominated for best supporting actress. (I wouldn't read too much into these particular outcomes; indeed, it is highly likely that the Academy will reverse them.) I expect that those races will now be won by Jean Dujardin (The Artist) and either Michelle Williams (My Week with Marilyn) or Elizabeth Olsen (Martha Marcy May Marlene), respectively, and that Christopher Plummer (Beginners) and Shailene Woodley (The Descendants) will prevail in the supporting categories. PHOTO GALLERY: View Gallery The Making of 'The Artist' Michelle Williams Take Shelter The Artist The Descendants Spirit Awards 2012

David Ayer To Script Up-to-date Scarface

EXCLUSIVE: Training Day scribe David Ayer remains hired to produce the completely new version of Scarface for Universal Pictures. The film will put an up to date spin round the outlaw tale first released in 1932 with Paul Muni playing an Italian who needed over Chicago, after which it changed into the spectacularly violent 1983 film that starred Al Pacino as Tony Montana, a Cuban who needed inside the cocaine trade in eighties Miami. The completely new film continues to be produced by Marc Shmuger and also the Global Produce banner along with Martin Bregman, who produced the John P Palma-directed version. When the studio setup the project in the finish of September, the intention wasn’t to carry out a remake around to marry typically the most popular aspects of both of these films getting a modern day crime context. Basically, the primary focus is by using an outsider, an immigrant who barges his distance towards the criminal establishment in pursuit from the twisted version in the American dream, as being a kingpin using a campaign of ruthlessness and violent ambition. Ayer notifies me that he isn't whatsoever cowed by walking into an legendary title. “This can be a fantasy personally, I am in a position to still remember once i saw the film at 13 plus it blew my ideas,” he mentioned. “I looked for this I assaulted that it is hard. I notice since the story in the American dream, getting a personality whose moral compass points in the different direction. That puts it during my wheelhouse. I examined both original Ben Hecht-Howard Hawks movie as well as the DePalma-Pacino version and situated some universal styles. I’m still beneath the hood identifying the wiring that will translate, but both films stood a specificity of place, there's unapologetic violence, together with a principal character who socially scared the shit from people, but who had their very own moral code. Each was faithful for the underworld of time. You will discover enough options inside the real existence today that provide an chance to accomplish this right. Whether or not this only decided to be an attempt to remake the 1983 film, which will never work.” Ayer assumes the job after finishing Finish Of Watch, the Exclusive Media Group-funded drama that Ayer written, directed and produced. Mike Gyllenhaal and Michael Pena star as LAPD partners and close buddies who navigate their work and lives. It started out just like a found footage-style film, while using POV coming initially from from from you placed on every cop vehicle to video cameras together with other surveillance items. Ayer mentioned it progressed into something much less rigid, they referred to as a combination of “unconventional storytelling connected with conventional photography that creates a portrait from the lives. It’s a combination between Cops and Mean Streets.” It's Ayer’s third pointing effort after Harsh Occasions and Street Nobleman, which he’s got a cut he’ll test by getting a crowd before finishing and showing it to potential domestic entrepreneurs before year’s finish. The film, which was funded by Exclusive Media, you will have to be seen by domestic entrepreneurs before year’s finish. Ayer’s repped by CAA and attorney David Weber.

MTV orders ' Buck Wild'

Anthropologists staring at the Jersey shoreline will quickly have another cool region to look at: MTV has purchased 12 instances of "Buck Wild," a set occur rural West Virginia among several buddies who've just graduated from senior high school. Series created by John Stevens and Craig Poznick from Zoo Prods. and J.P. Williams of Parallel Entertainment. Series will track the exploits from the lately matriculated Appalachian denizens because they mind on college, work on local jobs or simply find it difficult to manage. "We all know that showing unique slices of youth culture on MTV is one thing that resonates with this audience," stated MTV programming mind David Janollari. Contact Mike Thielman at mike.thielman@variety.com

'The Hollywood Reporter's' Directors Roundtable

"All of our films are quiet films," Jason Reitman noted about halfway through "The Hollywood Reporter's" annual gathering of six leading filmmakers. "It's kind of a quiet year."Reitman is right. Many of the films contending in the season's major awards categories are understated character pieces featuring long periods of silence. One movie, French director Michel Hazanavicius' "The Artist," contains virtually no dialogue at all.By contrast, the filmmakers behind those contenders have no trouble speaking their minds. This especially opinionated group -- Hazanavicius, 44, Steve McQueen, 42 ("Shame"), Bennett Miller, 44 ("Moneyball"), Mike Mills, 45 ("Beginners"), Alexander Payne, 50 ("The Descendants") and Reitman, 34 ("Young Adult") -- wasn't afraid to disagree while opening up about their challenges and influences.The hourlong roundtable took place Oct. 28 at Siren Studios in Hollywood.The Hollywood Reporter: There are a lot of good directors. What makes a great director? Alexander Payne: The luck that the work you do happens to hit the zeitgeist. A director can have a career spanning decades, but if he or she is lucky, there's about a 10-year period where you're given a chance to touch the zeitgeist. You can be doing very good and honest work before then and after then, and one of those periods may return, too. Robert Altman had it in the '70s, and then he kind of went underground. He never stopped working, and then he reemerged again for a final stretch run. Woody Allen kept doing very good and honest work -- excellent work in the '70s, of course, and then he kept chipping away with hits and misses. Now, he's kind of having a late-career resurgence.Bennett Miller:The directors I'm most impressed with have some kind of perspective. If it's Hitchcock or Kubrick or Scorsese or maybe an Alexander Payne, you watch those films and you feel like you're inside their head, their frames feel conscious.THR: How does the writer's point of view fit into that? Miller: Writers do not matter. (Laughter.) No, it's the same.THR: Bennett, you went from directing a small film, "Capote," to a big studio film, "Moneyball." How much was your perspective valued and how much did the studio mettle? Miller:I probably shouldn't say this, but in one of the early conversations I had with the studio folks, I argued a lot. And then I got a call from [Sony Pictures co-chairman] Amy Pascal, who said, "Look, Bennett, you're making the movie. Everybody knows that the studio, at best, can exercise 7 percent of influence over the thing, but you need to be more generous in these meetings -- and let's just never talk about this again and never tell anybody about the 7 percent." (Laughter.) So there's your answer.Jason Reitman:I grew up in a directing family, and as I've become a working director, I've gotten the opportunity to meet a lot of directors. I always figured there'd be a piece of recognizable DNA that I'd be like, "Oh, there's that trait that I'm noticing," [but] that does not exist at all. I've met great directors who are incredibly shy, I've met directors who are arrogant, terrified of confrontation, directors who truly thrive on confrontation as a part of their process. Some directors are horrible with actors. There are tons of stories of directors who don't understand actors as human beings and yet they still get great performances.Payne: How do you explain that? I don't know whom you're referring to, but one does notice that the directors we value for being great visual stylists also happen to get some of the best performances. One thinks of Kubrick.THR: Is that true? "Barry Lyndon" is one of my favorite films, but Ryan O'Neal is so horrendously miscast. Payne: We disagree there. I think he's perfectly cast.Steve McQueen: I disagree completely. Ryan O'Neal -- he's brilliant, he's Barry Lyndon, he's beautiful, he's lyrical. You project yourself onto him, you are Barry Lyndon.Reitman:The fact that he doesn't know what he's doing makes it actually work. His naivete adds to the role.Payne: Some directors have the good gut but not the wherewithal to explain it. William Wyler was famous for that. Made people do tons and tons of takes and said, "I don't know, just do it better," but he had the compass and he directed more actors to Oscar-winning performances than any other director.McQueen:Words can only go so far, you have to trust the director, end of story.THR: Steve, you have some extraordinarily difficult themes in "Shame," plus full nudity. How do you get the trust of the actors to do that? McQueen: They're actors. They use their bodies to act, like dancers. That's what they have to do. If I was making the movie in 1951 as opposed to 2011, [Michael Fassbender's character would] be wearing pajamas, but a lot of people don't wear pajamas, so he walks around in the apartment naked, drinks a glass of water, goes to the bathroom, has a shower. It's so obvious. It's not a shocker, is it? THR: Well, the film is quite shocking, isn't it? McQueen:Not particularly. We all have sex, we all see what Michael and Carey [Mulligan] have, as far as being naked. Maybe because it's onscreen it's shocking, but that's maybe because it hasn't been portrayed on screen. What's unfamiliar, at least to me, is someone with a gun shooting someone in the head. I think we made a film that was responsible. I don't care -- NC-17? Brilliant! Fantastic! Bring it on! I take full responsibility for it. I think most violent films are not responsible, they are completely opposite of responsible. Film should reflect real life. Otherwise, what's the point? Just make superhero movies all the time.THR: So what bothers you on the screen? McQueen: A crappy movie.THR: Mike, you had a particularly tough time getting "Beginners" off the ground. Is that because part of the story is autobiographical? Mike Mills: It took me three-and-a-half or four years to get financing. I got to hear "no" in every language. Finally I got the nerve to ask Ewan [McGregor to star] and lo and behold, he's the coolest guy, totally easy to talk to. He did it for scale and becomes a great friend.THR: Like the Christopher Plummer character, your dad announced that he was gay at 75. How did you take that? Mills:I had some information as an 18-year-old that maybe my dad was gay, but my parents were married for 44 years. My dad was born in 1925, wore a suit and tie everyday, he voted for Reagan, he didn't seem like a gay guy, and I have many gay friends. So when he came out, that was great. If anything, it made him much more interesting, and it explained a whole hell of a lot. What was weird was that my dad was a horny 75-year-old. But Christopher is not my dad, films aren't reality at all, even when you're trying to document something very concrete and small that did happen. Michel Hazanavicius:I don't try to ape reality, but there's something about life, even if it's a metaphor or if it's a completely invented story, you try to speak of life and of reality.THR: How did the idea for "The Artist" come about? Hazanavicius:The first attraction was for the [silent movie] format, not for the story itself. When you were talking about Ryan O'Neal, you said less is more. This is exactly the principle of a silent movie. As an audience, that [format] makes the movie really close to you because it's your own world, it's your own dialogue, it's your own voices. I believe that there are a lot of directors who have this fantasy to make a silent movie.Payne:I want to kill you because you beat me to it.THR: Mike, you're married to filmmaker Miranda July. How much does she influence your work? Mills:We're married and we're directors, but we never talk about it. I love her because she's not work and she's not all this stuff. Of course, I like her work and we like each other's, but it's different; we go on our own path.THR: Who influences you most? Payne: What does that mean to have an influence? Every time I'm asked that question, I'm nonplussed. Nothing and everything.THR: For instance, Bob Zemeckis says that before he makes a film, he watches "The Godfather." (Laughter.) Why do you laugh? Reitman:Two things. One: watching "The Godfather" makes me not want to make movies. Why would I possibly want to make movies after watching something as brilliant as that? And for me, the biggest influences aren't movies that I see, it's life experiences -- the girl who wouldn't go on a date with me when I was a teen -- it's that shit that finds its way in and influences your daily decisions.Mills:I am definitely writing letters to lots of directors in my mind when I'm making a film. I'm chasing Woody Allen and Godard and Milos Forman and all these people.Reitman:Maybe that's the better question: Who are you chasing?THR: OK, who are you chasing? Reitman:Alexander. Payne: Don't burden me with that.McQueen:I'm just trying to do as much as I can before I fall down.Hazanavicius:Billy Wilder is my favorite. But you can't think, "What would he do?" You're the only one who has the answers.Payne:Except I would say that the films we've seen and loved operate as a vague mental spice rack for a mood.Hazanavicius:I steal things, I really do. It's not that kind of "influence."Payne:Concretely?Hazanavicius: Concretely, yes. I have a breakfast sequence [in "The Artist"], it's exactly the "Citizen Kane" breakfast sequence. Exactly the same.Payne:What the hell -- why not? "Citizen Ruth" is trying to be "Ace in the Hole," and a bit of "Viridiana," and it fails. "Election" is made by a guy who was drunkenly in love with "Casino," and I still am. "About Schmidt" is chasing "Ikiru" and "Wild Strawberries" and "The Graduate." "Sideways" is trying to be an early '60s Italian comedy, like "Il Sorpasso," but with the mood of a '70s American film.Mills:That spice rack -- it's very conscious, it's not a secret and everybody does it.THR: What's the best and the worst moment you've had as directors? Payne:I was shooting a rear-screen projection moment for "Election" where Matthew Broderick is pretending he's Marcello Mastroianni in a Ferrari on the Italian coast and I laughed very hard. It was fun making myself laugh.Mills:Premiering your movie -- I don't know if it's the worst moment, [but] it's the most uncomfortable. My film premiered at Toronto and the Elgin Theater is this gorgeous, three-story theater. I was just walking up to the top, back down to the bottom, and then finally I just left because I really couldn't stand it anymore. Reitman:As someone that was in the Elgin that night, that was a pretty spectacular screening. Mills:You're very nice.McQueen:My worst moment was firing a crewmember. It was one of those situations where that person was there for all of the wrong reasons.Reitman:I had to fire an 8-year-old girl once on a Wal-Mart commercial. She was kind of a bad influence on the other kids.Payne: I fired an actor, just once. This actor was being disobedient in rehearsal the week before shooting, and so the day before shooting we made this actor go away and I hired someone off a tape who was wonderful.THR: How was he or she being disobedient? Payne:Arguing with me. It was a young person arguing over the stupidest things. I'm not there to argue with people and I'm not there to be a psychiatrist or a father figure. I'm there to make a film, and I invite collaboration but not argument.Reitman:I actually think psychiatrist is a bit of the job.THR: Many of you have remained in the independent film world by choice. Steve, would you ever take a big studio movie? McQueen: If I get final cut, yeah, why not? I want to work with people, I don't necessarily want to work for people. But final cut is not a sort of dictatorial position, it's actually a conversation, being collaborative with the people who are providing the money to make the movie.Payne:I would not give up final cut, but my next film will be in black and white for theatrical, DVD and streaming, and I am taking DGA scale plus 15 [percent] for this film. It's tentatively called "Nebraska." It's just a little comedy.THR: Why black and white? Payne:Because it would be so cool. THR: Did you go to film school? McQueen:Went there for three months and hated it at NYU. Film school was like work; it wasn't like art.Miller:I was at NYU for a bit. I found myself contracting.McQueen:For some people, it works. But I get the impression for us, you need freedom and you're put in this space where you can't fit.Payne:I loved film school [at UCLA]. I had a great time. I had one of those dream scenarios where I showed my [student] film and the next day I had 40 calls from agents and producers and studio people, and within a month, I had an agent and a writing-directing deal at a studio.THR: You're all men, and only one of you, Steve, is a minority -- why is that? McQueen: I must be in America.Mills:Yeah, why isn't there a woman here? My wife could be sitting here.THR: Name a female director who made a major film this year. Mills: Miranda July ["The Future"].Payne:Lynne Ramsay ["We Need to Talk About Kevin"], Andrea Arnold ["Wuthering Heights"].THR: OK, but you're talking about small films that have been little seen in America. McQueen:I mean, the question could be different. The question could be, "Why aren't there more black directors?" because there are obviously more women directors than black directors.THR: So what's the answer? McQueen:I have no idea. I mean, it's opportunity, isn't it? That's what it's about -- opportunity. And access, because some people just give up. I'm always astonished by American filmmakers, particularly living in certain areas, when they never cast one black person, or have never put them in a lead in the movie. I'm astonished. It's shameful. How do you live in NY and not cast a black actor or a Latino actor? It's shameful. It's unbelievable.Reitman:Not stepping into that.Miller:I don't know.THR: We look back at the late '30s, the '70s in America, New Wave in France, those were great eras in film. What about now? Payne: If you look at certain countries, you can say, "Well, they're having a good era." Like, Romania has been having a good era for the last six or seven years. Maybe it's starting to wind down, I don't know. Korea, Taiwan, Iran comes and goes, and they have a spectacular film this year in "A Separation." So if you look by country, I don't think U.S. commercial filmmaking is having a great period, and hasn't had a truly great period since about 1980. That's my opinion."The Hollywood Reporter" continues its annual series of exclusive discussions among the year's most compelling film talents. As awards season unfolds, look for upcoming roundtables with actors, writers, producers and animation filmmakers, and go to The Reporter's awards-season blog The Race at THR.com to watch videos of the full discussions. The Hollywood Reporter

Sooner or later This Discomfort Will Probably Be Useful for you personally (Not giorno questo dolore ti sara utile)

A 01 Distribution (in Italia) relieve a Jean Vigo Italia, Four from the Kind Prods. production, along with Rai Cinema, the seventh Floor, in colaboration with BNL -- Gruppo BNP Paribas. Produced by Elda Ferri, Milena Canonero, Ron Stein. Executive producers, Rose Ganguzza, Simona Bellettini, Dahlia Heyman, Avy Kaufman. Co-producers, Allen Bain, Jesse Scolaro. Directed by Roberto Faenza. Script, Faenza, Dahlia Heyman, good novel by Peter Cameron.With: Toby Regbo, Marcia Gay Harden, Peter Gallagher, Lucy Liu, Stephen Lang, Deborah Ann Woll, Ellen Burstyn, Aubrey Plaza, Gilbert Owuor, Dree Hemingway, Olek Krupa, Siobhan Fallon, Brooke Schlosser, Kyle Coffman, Jonny Weston, Kate Kiley, Rekha Elizabeth Luther. (British dialogue)A good deal could be accomplished while using title of Roberto Faenza's "Sooner or later This Discomfort Will Probably Be Useful for you personally,In . though it is advisable to kindly condition the Italo helmer's second British-lingo pic in 28 years (since Harvey Keitel starrer "Copkiller") can be a misfire. Strong cast people can't do much to help their less gifted co-employees, as well as the flat script, of a number of kooky NYers, aims for just about any sophistication it can't achieve. "Sooner or laterInch opens in Italia in February, but Stateside auds won't buy all of the different patently false situations, likely restricting U.S. play to streaming sites. 17-year-old James (up-and-coming Brit Toby Rego) narrates, saying he doesn't would rather talk much. You will discover numerous things according to him, or are mentioned about him, that don't jive with what's onscreen, even though scripters aren't being perverse, just sloppy. Another character acquired in the over-plundered Holden Caulfield mold, James appears being going enter into the rooftop of his brownstone, however mother Marjorie (Marcia Gay Harden) pulls up, home early carrying out a not successful honeymoon. She's a considerably-divorced impulsive gallery owner (another well-worn type), extended split from James' father, Paul (Peter Gallagher), a sizable biz swinger. Furthermore, you will find James' older sis, Gillian (Deborah Ann Woll), which has father-figure issues in addition to their grandmother, Nanette (Ellen Burstyn), Marjorie's mother as well as the only family member with whom James feels a distinctive connection. He's trading the summer season working at Marjorie's gallery and apparently holding a crush on gallery director John (Gilbert Owuor). James should certainly visit Brown U. but decides he is not interested attending school. Marjorie isn't getting such nonsense and sends him to existence coach Rowena (Lucy Liu), whose patient ear allows him to articulate his feelings. She will also make him confront "what went lower in D.C.," a conference frequently recognized to in troubled tones, which, when revealed, works out to become just a gentle panic attack. Really, lots of "Sooner or laterInch partcipates for making hills from molehills, for instance James' misguided but hardly treacherous prank through which he pretends being someone else so they can communicate with John around the gay dating site. Levels of reply to various occasions with the pic are off-kilter, but there's nothing as cringe-worthy just like a scene in D.C., when the busload of students around the youthful leaders' getaway instantly -- and apparently, without parody -- burst into "America the gorgeousInch when spying the Capitol. It's suggestive of simply how much the film can get wrong about America, and you'll find occasions if the feels as if Faenza's understanding of "kids nowadays" stopped some time inside the sixties a university dance resembles a sock-hop greater than something from 2011. The kooky family desires to be cousins in the Royal Tenenbaums, there's however no edge or brains here. Regbo is ok, and comes through relatively untouched. Harden are capable of doing this kind of Americanized "Absolutely Fabulous" role along with her eyes shut, and Burstyn forms an exotic of substance in a really shallow sea. Though Liu's role is small, she once again proves that her talents are increasingly being criminally neglected. Woll and Owuor, however, submit weak perfs. Gotham as well as the 'burbs look attractive through ace d.p. Maurizio Calvesi's lens, climax a sunny kind of blandness that suits while using overall impression from the film created with a customer and not a resident. Appear, no less than within the Rome fest screening, was excessively resonant.Camera (color), Maurizio Calvesi editor, Massimo Fiocchi music, Andrea Guerra production designer, Tommaso Ortino costume designer, Donna Zakowska appear (Dolby Digital), David Pastecchi connect producer, Adriano Wajskol line producer, Sean Fogel casting, Avy Kaufman. Examined at Rome Film Festival (noncompeting), November. 1, 2011. Running time: 99 MIN. Contact the number newsroom at news@variety.com

Wim Wenders on Until the End of the World at 20, Its Amazing Soundtrack, and Loving LuLu

Director Wim Wenders has made his best-received film in years with Pina, a bold, beautiful 3-D tribute to his late friend and collaborator, the German choreographer Pina Bausch. But 2011 also marks the 20th anniversary of an even more ambitious — if eminently troubled — Wenders work loaded with cutting-edge visuals, music and concepts. Until the End of the World was conceived over most of the ’80s, filmed on four continents (including video smuggled out of China), and foresaw a future abetted by such diversions as mobile viewing devices, proto-GPS and a highly sought-after contraption that records images for the blind. Starring William Hurt, Sam Neill, Solveig Dommartin, Jeanne Moreau and Max von Sydow among an international ensemble of actors, the film also skyrocketed to a $23 million budget and found its distributors — including Warner Bros. in the United States — requiring cuts that reduced it to barely a quarter of Wenders’s original vision. Later locked in at just under five hours, it’s the type of material that today would be a shoo-in for a cable miniseries that could probably win Emmys for everyone involved. Twenty years on, however, it’s relatively lost to the mainstream, with Wenders’s directors cut as yet unreleased outside two territories in Europe. A handful of screenings over the years have exposed Until the End of the World to contemporary audiences, but at least we’ll always have its soundtrack — a moody pop collage of Lou Reed, U2, R.E.M., Talking Heads, Patti Smith, Nick Cave and the Bad Seeds, Elvis Costello, Depeche Mode and other artists that hasn’t aged a bit in 20 years. Talking to Wenders last week about Pina (which opens next month; look for more on the film here at that time), I asked the director to reflect on the epic that remains embattled to this day. Two decades on, what are your thoughts on the reception and legacy of Until the End of the World? Well, it is still by far the most ambitious thing I ever did. I look at it like that. It’s a work that’s very dear to me, though I must that I was forced by the studios worldwide and my co-producers at the time to shorten it down to something that was like a Reader’s Digest of the movie. The film that’s in distribution ever since 1991 is a far cry away from what was actually shot. The only film that represents that is my director’s cut, which is twice as long — which is five hours. The film has strange insights into the future. If you look at the people running around looking at their little monitors in front of them all the time, that’s what you see in the streets today everywhere — that sort of addiction to the computer image. You’ll find that in many young people today. It’s a real disease. And the main technology in the film — to make a blind person see, or to extract images from the brain of a person — that’s what scientists do. It’s the very same technology today, in 2011. I’ve had several scientific reports of the first images drawn out of a person’s brain, strictly represented by brainwaves. And they gave imagery that looked exactly like what we’d done in the film. So it’s funny how science fiction eventually becomes reality. Do you feel like that film is underappreciated, or that there’s a way you might try to revive that director’s cut somehow — particularly considering what you just mentioned? I hope that one day that the long version comes out on Blu-ray. I’m not really into reviving the Reader’s Digest because of the way I feel about it. I had to do it myself. If I hadn’t cut it down to two and a half hours myself, somebody else would have done that. I thought I’d rather kill my own baby then let somebody else slaughter it. I never saw that short version after that. I didn’t even go to any screenings when the film was released. I didn’t want to see it. It was too painful. So I made the director’s cut two years later, but it was hard to impose it because the distributors had the rights to the other one, and there was no director’s cut foreseen in the contract. So I could only really release it in the two territories I controlled, which at the time was Germany and Italy. But I hope eventually the film will see the light of day in other territories — at least on Blu-ray. I don’t think a film of five hours realistically has any chance to have theatrical distribution. There’s a beautiful print of it at the Academy of Motion Picture Arts and Sciences. They have the only print of mine, and I’m very grateful that they have it. It’s there, and anybody who would want to screen it could get it from the Academy. But realistically a film like this doesn’t have any chance to be seen on the screen. But I hope one day for a Blu-ray. Probably its most enduring legacy is its soundtrack. I’ve got it represented on almost every playlist of mine. How did that come together? It sounds like it was 10 times more successful than the movie. If as many people bought the soundtrack had watched the movie, I would have been very happy! It really is one of the best ever. It’s a beautiful soundtrack. It was made in sort of an adventurous way, because all these bands that I was listening to when I was making the movie, a lot of them were my friends. So that was the music I carried with me during the making of this science-fiction film. And when I was editing it, I figured that was contemporary music. I mean, U2 and R.E.M. and Lou Reed and all the stuff that was in the film that I was looking to, I figured I can’t put it into the film if the film takes place in the year 2000. I’d better ask these guys if they could project themselves 10 years into the future and write a song that, like the movie itself, made an effort to look into the future. I asked… Let me think. I asked 18 bands to consider a proposition of writing a song that could represent their music 10 years from then, really thinking that only half of them would respond if I was lucky. But they all responded except two, and I got 16 tracks — one more beautiful than the other. That was one of the heartbreaking things about the Reader’s Digest version: Some of these beautiful songs, in that version, only appear for 10 seconds. So another reason to make the full version of the film was to let the music blossom and finally show what the intention was with all that fantastic music. That’s so weird about envisioning 10 in the future. R.E.M.’s song (“Fretless”) doesn’t even have drums, and they lost Bill Berry around the end of the decade. It’s funny. And there are some other things like that, where bands actually did something that had something to do with what they were making in 2000. It was adventurous, and I’m eternally grateful to all these guys to take my proposition seriously and really project themselves. Even U2’s title track, “Until the End of the World” — if they released that today, people would say, “Wow.” Even today it’s a little futuristic. Have you heard Lou Reed’s new collaboration with Metallica? Oh, yes. I’m listening to it every day! I rented a different car, because I realized… [Laughs] I’m here in L.A., and I’m staying in this hotel, and I don’t have a sound system. So I needed a car with a good stereo system to allow me to play LuLu loud, because it’s ridiculous to hear LuLu in a regular car. So I rented a much more expensive car so that it would have a good sound system so I could actually listen to LuLu loud. So I’m driving around the city with LuLu very loud! It’s fantastic! I love it. Really? It is a funky thing. I’ve never heard Lou Reed sing like this! And I’ve known him for so long, and I love The Velvet Underground. But Lou Reed was never belting out like that. It’s like he finally was carried by another force that let him sing like this. And of course there is a little retro thing to the sound of Metallica. I mean, I like them, but they haven’t really changed their sound. But the combination is still really utterly fascinating. [Top photo of Wim Wenders on the set of Until the End of the World: Corbis] Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitter.

'The Help' and 'Mad Men' Win Hollywood Publish Alliance Honours

"The Assistance,Inch "The Social Networking," "The Eco-friendly Lantern" and "Transformers: Dark from the Moon" counseled me those who win Thursday evening because the Hollywood Publish Alliance held its sixth annual HPA Honours in the Skirball Cultural Center in La.The HPA, the publish-production community's professional organization, also presented an eternity Achievement Award to Cyril Drabinsky, leader and Boss of Luxurious Entertainment Services Group.Engineering Excellence Honours were passed out to Dolby Labs because of its Professional Reference monitor The new sony Professional Solutions of America because of its OLED monitor Lightcraft Technology for Previzion and IBM because of its Linear Tape File System.The Idol judges Award for Creativeness and Innovation visited Testronic Labs because of its File-Based QC Lab and also to Steven J. Scott of EFILM for that Tree of Life's DI Atmosphere.The HPA Honours, which recognition talent working behind the curtain in movies, television and advertisements, also recognized operate in the television series "Mad Males," "Downton Abbey," "House" and "Boardwalk Empire." The Hollywood Reporter

Blue Velvet: 25th Anniversary Edition Blu-ray Giveaway: We Have Our Winners!

Thank you, thank you, thank you to all of the gifted guest critics who turned out yesterday and today to review Blue Velvet. It is difficult to sum up David Lynch’s psycho-thriller masterpiece in just ten words but, as always, our clever readers rose to the occasion. Unfortunately, Movieline could only choose three critics to gift with Blue Velvet: 25th Anniversary Edition Blu-rays. Click ahead for the victors. · @natatat42 “Only a rape-dismemberment-Hopper combo could make MacLachlan uncreepy. “ · MJG: “Nothing Is What It Seems. Except for Naked Isabella Rossellini.” · Melissa Becker: “Hopper huffs gas, puffs himself up, and blows us away.” And a very honorable mention to Casting Couch, who would have been one of our winners had his/her entry been 10 words: “Baby waaants to fuuuck…ing win this Blu-ray!” Congratulations to the latest batch of Movieline winners! We’ll be in touch shortly. And more importantly, thank you to all of the guest critics who participated in this Blue Velvet event. As always, be on the lookout for more Movieline giveaways.

Jake Abel Is Frontrunner For Male Lead In Twilight Author Stephenie Meyers The Host

EXCLUSIVE: Actor Jake Abel is frontrunner to play one of the two male lead roles in The Host, the adaptation of the science fiction novel by Twilight author Stephenie Meyer that will star Saoirse Ronan and be directed by Andrew Niccol, who wrote the script. Negotiations are expected to begin soon. Abel was chosen from among a group of young thesps and he is negotiating for the role of Ian. The other male lead role of Jake is down to a small circle of actors including Liam Hemsworth (also a finalist to play Bruce Willis’s son in A Good Day To Die Hard), Max Irons, Kit Harington and Jai Courtney. Abel has starred alongside Ronan in The Lovely Bones, and his other recent credits include I Am Number Four and Percy Jackson and the Olympians: The Lightning Thief. Open Road acquired the film for domestic distribution. Abel’s repped by UTA and Anthem Entertainment.

Jennifer Lopez To Battle Carmen Sandiego

First Launched: November 4, 2011 2:52 PM EDT Credit: Getty Images Caption Jennifer Lopez attends the primary city FM Summer time season Ball at Wembley Stadium on June 12, 2011 london, EnglandLOS ANGELES, Calif. -- Where in the world is Jennifer Lopez? The celebrity is arranged to produce and possibly star in a huge screen live-action version in the famous gaming-switched-animated series Where in the world Is Carmen Sandiego?, according to Deadline. If she does star inside the feature, she'd play in the title character one of the cell phone industry's finest detectives who becomes the cell phone industry's finest crook. Its then around her ex-partner to uncover if shes really gone bad. This wouldnt be the first time Carmen Sandiego was acquired just like a movie. Within the 90's, Disney attempted to develop a version starring Sandra Bullock, nevertheless it never materialized, according to Deadline. J. Lo recently wrapped production round the film What you should expect When You're Expecting, co-starring Cameron Diaz. She'll resume her knowing duties round the eleventh season of yank Idol when the show returns within the month of the month of january. The condition announcement of her return was confirmed in August by FOX. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

'X Factor's' Dexter Haygood Claims He Earned an offer to depart Show

This can most likely emerge from left area for X Factor fans as contestant, Dexter Haygood, appeared without words about his elimination on last week's show. Well, he is not without words any longer. Haygood states that his elimination throughout the very best 12 show a week ago was the effect of a deal he earned with producers.our editor recommends'The X Factor' Restored for Second Season'The X Factor': 10 Ideas to Enhance the ShowPerez Hilton Jams 'X Factor's' Stacy Francis: You are a FraudPerez Hilton Calls 'X Factor's' Stacy Francis Too Old for Pop Adam Lambert Disagrees PHOTOS: 'X Factor' Top 17 Runners up: Become familiar with the performers "I needed to depart the show because I had been unhappy which i was not able to become a rock artist. I was raised on rock," he states based on the Connected Press. "(Producers) appeared to obtain their method of doing things. I'm unsure why they wouldn't allow me to be me." Fans will keep in mind that Haygood sang several tunes that appeared to become outdoors of his safe place, including hits from Beyonce, Katy Perry, and Britney Warrior spears. Haygood states he told judge and also over 30s group mentor Nicole Scherzinger he desired to leave and she or he introduced his request to exhibit producers. PHOTOS: Behind the curtain: THR's 'X Factor' Cover Shoot She then came back having a deal, based on Haygood. He is able to leave the show throughout the very best 12 elimination if he decided to return for that season finale. Though he states he never really worked with show producers, he required the offer Scherzinger offered him. Since he was contractually bound, he stated he wouldn't have quit when they did not cut him an offer. "They required the chance to chop me, to allow me just fly and do things the way in which I wish to do them," he states. PHOTOS: An 'American Idol' to 'X Factor' Timeline A Fox representative informs THR the network doesn't have comment. THR also asked for comment from Scherzinger via her publicist, but she did not immediately react to the request. Haygood, who declared he was destitute when he auditioned for that show, would be a person in the 80s funk rock group, Xavion. Email: Jethro.Nededog@thr.com Twitter: @TheRealJethro Related Subjects Nicole Scherzinger Fox Broadcasting Corporation The X Factor