Hathaway As Catwoman Becomes A Producer The First Time In 'Puzzler'

Hathaway As Catwoman is trying out a completely new job inside the film industry: creating. In line with the Hollywood Reporter, Hathaway is positioned to both star in and convey the thriller "Puzzler" at Vital. It's being known to just as much like "72 Hrs in the Condor," the Robert Redford film that adopted a CIA investigator who finds all his pals dead as well as to stay several steps before his attackers. The film will probably be put together by "Tresspass" scribe Karl Gajdusek. Unsure yet on if the uses front from you. See the relaxation of current day casting news following a jump! Josh Holloway, Josh Peck Join "Planet B Boy" What can Josh Holloway and Chris Brown share? They'll both soon be starring in "Planet B Boy," an approaching Screen Gems film that notifies the particular-existence story of countless American b boys. Inspired by an award-winning documentary, the film follows a thrilling-star American quantity of breakdancers who train to compete inside the Fight of year Worldwide Game titles in France. The film also stars Josh Peck, Laz Alonso and Caity Lotz. Paul Master To Star In "District 13" Remake Deadline finds that Paul Master is at discussions to participate "Brick Mansions," the Luc Besson-scripted remake of Pierre Morel's 2004 French thriller "District 13." He'll play an undercover detective searching to think about lower a drug dealer who stole a WMD. David Belle, the actor who starred inside the original, may even star inside the movie. Ryan Kwanten And Amy Smart Fly On "Flight 7500" Bloody Disgusting is verifying that Ryan Kwanten and Amy Smart will be in predicts star inside the thriller "Flight 7500." The film arises from "The Grudge" director Takashi Shimizu. It's set around the transpacific airliner from LA to Tokyo, japan, japan that encounters a supernatural pressure. Smart would play one of the people. It's unclear who Kwanten may have. Dylan McDermott Can get In Round The "Dog Fight" Casting on Will Ferrell and Zach Galifianakis' political comedy "Dog Fight" is starting to warm up. The newest actor to participate the cast is "American Horror Story" star Dylan McDermott, who plays the consultant who runs Galifianakis' campaign. He joins Jason Sudeikis, Sarah Baker and Katherine LaNasa inside the Jay Roach-directed comedy. Filming starts the next month. Reveal everything you considered current day Casting Make contact with should be genuine section below or on Twitter!

You Can't Close This Short Article from Logan Lerman's Awkward Korean TV Interview

Logan Lerman, possibly our most rosy-cheeked D’Artagnan, arrived on the scene around the Korean talk show while marketing the completely new Three Musketeers within the Busan Worldwide Film Festival. Maybe the film’s much less hot, however, you’ll see in this clip that Lerman’s cute clumsiness may be the finest we’ve seen since Jesse Eisenberg (and not as switch). Also, the host steals Lerman’s shoes, and for reasons uknown it’s like watching a trainwreck. To start with, the amount of occasions is one to person insist he's shy? And be so right? Next, People QUESTIONS. After which it THAT SINGING. Concluding with People Slip-ons. It’s as being a version of Contagion where the virus allows you to definitely shuffle within your chair and scratch your neck 100 occasions. Logan Lerman interview on Korea TV (March 23, 2011)! [YouTube]

Ratings: Game 1 of World Series Draws Nearly 13 Million Fans

Jason Motte in the St. Louis Cardinals Game among the World Series involving the St. Louis Cardinals and Texas Rangers attracted in nearly 13 million fans, preliminary Nielsen data shows. Furthermore, it acquired a 3.8 rating among 18-to-49-year-olds. See the relaxation in the day's news Still, the overnight ratings for your Series - which have evaporated over time - were 8 percent below last year's overnights for Game 1. Fox hope the fall Classic goes past four to five games, because interest substantially evolves for sixth and seventh games Last year's five-game Series averaged 14.2 million audiences - the second-least expensive after 13.6 000 0000 in 2008. This Past Year, the NY Yankees-Philadelphia Phillies series came 19.4 million audiences. Fall Preview: Get scoop inside your favorite returning shows At 8/7, CBS' Survivor: South Off-shoreline counted 11.millions of audiences, while ABC's The Middle clicked up 9.03 million and NBC's Up With The Evening 5.64 million. Over the following half-hour, Suburgatorylured 8.79 million people while a Whitney rerun - still filling the slot left with the canceled Free Agents - attracted in 4.ten million. Another repeat in the CW's Ringer got 1.22 million. Wednesday night's most-seen show, Criminal Minds, entertained 13.11 million people in prime time's middle hour versus. ABC's Modern Family (12.85 million) NBC's Harry's Law (8.18 million) and America's Next Top Model round the CW (1.89 million). After Family, Happy Being had 6.89 million people tuning in at 9:30/8:30c. Inside the final prime-time hour, CBS' CSI: Crime Scene Analysis attracted 10.64 million ABC's Revenge 7.94 million (the same as the other day) and NBC's Law & Order: Special Sufferers Unit 7.58 million.

Zachary Quinto on Margin Call, Occupy Wall Street and the Business of Coming Out

It’s been a hell of an autumn so far for Zachary Quinto, who has followed his appearance in last month’s Anna Faris comedy What’s Your Number? with a forthcoming role in the FX hit American Horror Story and the lead in writer-director J.C. Chandor’s superb economic-meltdown drama Margin Call. And he dominated headlines last weekend after officially coming out as gay. Not bad! But as Quinto told Movieline this week in NY, Margin Call remains the focus for now, and for good reason: Not only does the film feature arguably Quinto’s best performance to date as a young financial analyst who uncovers a crisis in the making at his investment bank, but it also represents the 34-year-old actor’s feature producing debut. He did it with class, too, rounding up an excellent ensemble including Kevin Spacey, Jeremy Irons, Stanley Tucci, Paul Bettany, Demi Moore, Simon Baker and Penn Badgley. The film opens Friday after a warm receptions earlier this year at the Sundance, Berlin and New Directors/New Films festivals. I spoke to Quinto about pouring his ambition into Margin Call, the coincidental timing of its release opposite the ongoing Occupy Wall Street protests, and both the political and professional implications of coming out. I had no idea what to expect going into Margin Call, but I really loved it. How did you get involved with it? I started a production company three years ago, and we’ve been producing all kinds of different things. We published two graphic novels, we explored some short-film content online, we’ve been developing televisions. And this was the first feature that we got behind and wanted to produce. So for us, there was a lot at stake, you know? We met J.C. at a meeting when he was out in L.A. about two years ago, and he told us about the project, and he gave us a copy of it. We all went home that night — I have two business partners — and we called each other the next morning and said, “This is it.” There was just such a unanimity to it, and it became really clear based on the integrity and caliber of the material — added to the affability of and point of view of J.C. That was the beginning. What was your first instinct: To produce or to act? It was always in terms of producing; we were looking for my company’s first movie. And for me with projects, they’re not mutually exclusive — they’re not dependent on one another. We’ve made three movies now, and I’m only in this one. I think it’s good in this instance — with the first project — that I’m involved as an actor and was able to rely on that exposure, and that association to make this declaration about my company. But yeah, I wanted to act it in it when I read it. It was something I felt compelled to do. But it wasn’t one or the other or all or nothing; it was always a conversation of both things. There are a handful of roles in this film that you could have played. Why Peter? From a practical standpoint, I think that my age and my sensibility lend themselves most aptly to Peter. But in a creative way, I was really drawn into him because, first of all, I think he’s the portal for the audience into the world of this movie. He’s responsible for making this discovery and is sort of the catalyst for this information moving up the ladder within the chain of command of the corporation. And yet he has a seemingly rooted moral compass, which gets thrown off in the course of his journey. And I liked that — that was something I was really interested in. I mean, I tend to be drawn to characters who have some level of internal complexity or ambiguity or duality, and I thought he was no exception to that. This cast is amazing, obviously. What was your role in helping assemble these actors, if any? I was pretty instrumentally involved in producing the movie every step of the way, but especially in the beginning — when we were meeting financiers and pitching the movie. I was really involved in that phase of it. And also the casting phase. I was reaching out to actors directly, and talking to their reps and having conversations and setting up meetings and going to meetings with J.C. and other actors. I was really, really involved in that, because that’s where being an actor in my own right allows me to utilize those contacts that I have and that access that I have that somebody coming to the table just wanting to produce a movie definitely does not have. So the resources of my agency and my management company and all of that stuff were really helpful along the way as well. What do you pick up from guys like Jeremy Irons and Kevin Spacey — or even younger peers like Paul Bettany, even Penn Badgley — when you’re going to work in this environment every day? There’s an immense professionalism, commitment, preparedness, punctuality, confidence, sense of humor… It was a really enjoyable production. And it was every day — the lessons were just such a part of the experience. Working with these legends in their own right really made me feel inspired and challenged in the best way possible. The timing of this film’s release could not be better — not only because of the continuing economic malaise, but of course it coincides with the Occupy Wall Street protests. Have you been down there at all? I haven’t been down to Zucotti Park this week; I’ve been so busy here doing press for the movie. It’s kind of funny: I accidentally got swept up in a movement they were doing on the Upper East Side the other day. I was going to a meeting and crossing over Park Avenue and heard all this chanting and saw these cops, and I realized the movement was chanting outside Rupert Murdoch’s house and other CEOs’ houses on the Upper East Side. I thought that was really cool, and if I hadn’t had somewhere to be, then I’m sure I would have followed them for a little while to see where the energy was moving. But you know, I think we never could have anticipated this. This is such a gift from the universe that all this conversation is happening and this movement is gaining so much momentum right now as we’re putting this movie out. I think it’s really incredible. Is it actually in good taste for celebrities to even be down there? There’s a exploitation factor to some degree — guys like Kanye, for example, who otherwise brags about being among the 1 percent? Is it better to stay away? Or does that deprive you of your personal right to protest as a citizen? Well, I’ve certainly protested other things in my life, so I think for me, it’s about the message. And I think the Occupy Wall Street movement is still trying to define and clarify its message. It’s really a kind of interesting and amorphous movement; I don’t think it came out of the gate knowing clearly its standpoint — its manifesto, so to speak. So I’m just really interested in seeing how that unfolds. But when they do come up with that declarative position and it’s something that resonates for me personally, then by all means I would love to get involved. I think these are exactly the kinds of conversations that need to be happening in this country. But what worries me is the divisiveness of these conversations and the way they tend to just be ideological debates where one side is completely invalidating and undermining the position of the other side. That’s unfortunately the political climate that we seem to be living in these days, and I think it’s actually that which needs to shift. And as long we perpetuate these cycles of, you know, back-and-forth and round-and-round, then nothing’s going to change, and it’s going to be much more destructive than productive. And of course you recently made a pretty significant stand on a social issue by publicly declaring your sexual orientation. How do you intend to help move that cause forward? It’s a big part of why I did it. I feel like I did it in my own time, on my own terms, in my own words — which I’ve always is how it would happen when the time is right. And I just felt like I would help in whatever way feels organic. And I’m sure that now that I’ve made this statement and acknowledgment, opportunities will present themselves in many different ways. And I look forward to being to meet those opportunities with integrity and open myself up to helping a conversation move forward in a way that I think that it has to for all us — not just for the sake of gay people or straight people or whatever. It’s for the sake of humanity that we need to be looking at these issues with more compassion and more acceptance and more openness and less judgment and intolerance. As a producer, is there anything to be said for declaring this the week your movie comes out? As opposed to what? To bring visibility the film. That was never, ever in any way a part of my intention. This was something that was an intensely personal decision and intensely thought-out. I gave it a lot of thought and attention. It has nothing to do with marketability or visibility. I mean, I’d rather be doing it in association with a movie that I have a significant impact in bringing to bear and bringing to life than at any other time to just generate attention for me myself. I’m making a lot of declarations this week — as a producer, as an actor, as someone who’s interested in human rights and wants to help advance those conversations. So I dismiss that idea completely. Considering the inescapability of other subjects like Star Trek or Heroes, though, do you have apprehensions about adding another topic to the conversation that precedes or even limits talking about your work? I don’t really understand that line of questioning. I’m really interested in talking about my movie, and I’m really interested in talking about issues that are important: My work as an actor, and my belief that people need to start opening up to each other with more tolerance and more acceptance. I mean, they’re totally separate things. I feel like my work is my work, and my political points of view and social points of view are exactly that, and I’ll talk about them when it’s appropriate. So no, I don’t expect that it’ll limit me or restrict me in any way. [Top photo: Getty Images]

VIDEO: Shia LaBeouf Beaten Outdoors Vancouver Bar

Shia LaBeouf Shia LaBeouf was beaten outdoors a Vancouver bar, TMZ reviews.The website acquired video of Thursday's alleged incident, which shows a shirtless guy punching someone laying around the pavement who seems to become LaBeouf. Following the attack, LaBeouf attempts to chase following the guy, but someone holds him back and informs him: "You gotta lay low at this time.InchExamine out photos of Shia LaBeoufAccording to TMZ, your dream began within the Cinema Public House bar and ongoing outdoors after security started LaBeouf and also the guy out. It's unclear what triggered the attack.A repetition for that bar told the website that nobody saw your dream outdoors, but confirmed the actor is a regular in the bar while he's been shooting The Organization You Retain in Vancouver. Robert Redford and Shia LaBeouf to star in The Organization You KeepAn e-mail to LaBeouf's repetition wasn't immediately came back.Watch your dream: video platformvideo managementvideo solutionsvideo player

Bert Royal sets drama at CW, Warner Bros. TV

CW has pacted with "Easy A" scribe Bert Royal and Warner Bros. TV to develop an action-thriller "Dare." Royal is penning the script for WB-based Lin Pictures. He'll professional produce with Serta Lin and Jennifer Gwartz. "Dare" involves several six teens who've to experience a deadly wager on Truth or Dare. "Dare" marks Royal's second development prospect for your approaching pilot season. He's already setup half-hour, "The Brainiacs Shall Inherit our world,In . at ABC Art galleries with Jennifer Garner's Vandalia Films banner. Round the feature side, Royal recently offered a spec comedy "A Thousand Words or Less" to Fox Searchlight, they is installed on direct. Royal is repped by Paradigm and handled by R.E.D's Dana Jackson. Contact Cynthia Littleton at cynthia.littleton@variety.com

Bad Movies We Love: Father of the Bride Part II

A friend of mine once explained to me her chief problem with movies: “I don’t like when movies have conflicts. Can’t we just hang out with the characters and make jokes and have fun? It’s nicer that way.” This week’s Bad Movie We Love answers that harebrained prayer with a conflict-free plot, a smiley disposition from beginning to end, and a huge helping of total irrelevance. It’s the 1995 sequel Father of the Bride Part II starring The Big Year’s lead amigo Steve Martin, Diane Keaton, and a company of stress-free actors. Father of the Bride Part II is the cinematic equivalent of vanilla ice cream with butterscotch syrup: old-fashioned, tasty, and fit for consumption on a Sunday afternoon with your grandparents. Put in your dentures and watch the sedatest version of a “wild and crazy guy” you’ll ever see. Though it’s a remake of the Spencer Tracy/Elizabeth Taylor sequel Father’s Little Dividend, Father of the Bride Part II kicks off where the 1991 “original remake” left off: Steve Martin and Diane Keaton remain an upper-middle class, beige-loving couple with a married daughter. Awww. Happy! Clappy! But when their daughter declares she’s pregnant, Martin and Keaton don’t realize they have a surprise of their own: Keaton is pregnant too! Ohhhhhh. This will lead to all sorts of confusion, such as… nothing. There is no confusion. There is no conflict. This is a movie about a pregnant middle-aged woman, her pregnant daughter, their husbands, quaint narration, and spurts of infomercial-grade zaniness from wedding planners Martin Short and B.D. Wong. It is chronically pleasant. You may wonder why you should see such an inconsequential piece of Sunday schmaltz, and the stork has some shocking news for you: You will watch this movie 50 fucking times. You will watch it in the mornings. During summer. On weekday evenings. In winter. On TBS. On Demand. On Netflix Instant. You will love it. It will mean nothing. It will be your everything. It will help you live. With its barrels of zilch. And aisles of smiles. Smile! Smile. Sleepy now. Go to sleep. Steve Martin loves you. Diane Keaton whisks you into the arms of Morpheus. La-la. Thank you. More formally, there are five reasons to pick up Father of the Bride Part II for repeat viewings. Essentially, screenwriter Nancy Meyers should’ve called it It’s Even Less Complicated. Enticed yet? 5. You say, “Prostate,” I say “HAHA-state!” It’s a case of mistaken identity in the hospital when a sleep-deprived George (Steve Martin) is confused for a patient who needs a prostate exam. Do you like butt-tickle humor? Welcome to paradise. In a classic moment of “AH! Let me get to know you first!” snap reaction, Steve Martin flies out of the exam room with a frightened zeal that recalls his ’70s SNL heyday. 4. A nursery that Anne Geddes might call “a little overdone” Martin Short reprises his role from the first film as Franck Eggelhoffer, the wedding planner who decides to decorate the nursery for George’s new baby. George is unconvinced that Franck will deliver a decent room, but he’s astonished to find that Franck has crafted a beautiful space with just the right accoutrement. Meanwhile, we’re astonished to find that Franck has crafted a scary menagerie of stuffed animals, insane furniture, and Hallmark Channel lighting. It frightens me. It looks like a cemetery for A.A. Milne characters. I’m traumatized and can’t look away. 3. Speaking of horrifying menageries, here are two storks that showed up at the baby shower. Not kidding. 2. Diane Keaton rehearses for The First Wives Club in front of you. We can argue about Diane Keaton’s best work, but no one can deny that her most important role was that of Annie MacDuggan Paradis in The First Wives Club. Deal? Shut up. Strapped to a prosthetic belly in Father of the Bride Part II, we watch as Keaton lunges and squats to prepare for the difficult choreography of her future work with Goldie Hawn and Bette Midler. She’s even wearing unflattering, tight whites. If you can keep your eyes off of flailing Ed Grimley for three seconds, you’ll sigh in adoration at Keaton’s seminal training. 1. A horrifying glimpse of Steve Martin without silver hair Remember what I said about this movie being vanilla ice cream with butterscotch syrup? That still applies, but now there’s a razor blade in the second scoop, and Steve Martin put it there. Try not to impale your gums on this photo of the banjo man, who spends the first 15 minutes of the movie enjoying a midlife crisis, with mousey brown hair. You’ll notice that he looks like Ray Combs now, and the survey says, “I can’t handle this.” He has no character with brown hair! It’s like Jennifer Hudson in a size-4 wrap dress or January Jones when she wears a real emotion: The essence is gone! Diane Keaton, your exasperation hits the mark, as usual. Read more of Movieline’s Bad Movies We Love.

The Veil

Conor McPhersons The Veil concentrates on the misfortunes from the formerly grand British family in rural Ireland in 1822. A National Theater presentation from the play by 50 percent functions written and directed by Conor McPherson.Lady Madeleine Lambrook - Fenella Woolgar Reverend Berkeley - Jim Norton Hannah Lambroke - Emily Taafe Mr. Fingal - Peter McDonald Charles Audelle - Adrian Schiller Mrs. Goulding - Brid Brennan Maria Lambroke - Ursula Manley Clare Wallace - Caoilfhionn DunneThe plain housekeeper is deeply deeply in love with the estate manager who's deeply deeply in love with the lady of the house which has permit the estate visit rack and ruin. Add the spirits in the dead expected of playwright Conor McPherson along with "The Cherry Orchard" with ghosts. Sadly, it's neither the stress in the former or, as manifested within the finest works "The Weir" and "Shining City," the literal and metaphoric shiver in the latter. McPherson's story from the formerly grand British family which is (mis)fortunes in rural Ireland in 1822 opens while using estate manager Mr. Fingal (Peter McDonald) and senior citizens Mrs. Goulding (Brid Brennan) awkwardly practicing to one another the troubles in the Lambroke family. Lady Madeleine (Fenella Woolgar) hasn't paid out wages for 13 several days but she's poised to assuage everyone's worries while using marriage of daughter Hannah (Emily Taafe) with a wealthy (unseen) Englishman. Nevertheless the alliance may be jeopardized by Hannah's worries inside the voices she learns. Exposition might be the required bugbear of plays that rely on backstory but, after initial set-up, have a tendency to gives approach to developing action. Not here, alas. You will discover a couple of moments of present activity, particularly an ill-advised seance, but almost other things that occurs accomplishes this off-stage. This can be a harmful endeavour since its difficult to build associations occasions and figures that remain unwitnessed and undramatised. Rather than building tension using the depiction of occasions, McPherson is dependent on extended passages of reported speech through which figures unburden themselves. Chief could well be meddlesome Reverend Barkeley (Jim Norton) who smugly announces his every self-satisfied belief about spiritualism at great length and encourages a late-evening sance for his or her own finishes. Despite the fact that figures that attend the seance are part of your family or temporarily woven inside it, for almost all the play in the familial and spiritual elements rarely mesh considerably. Secrets are revealed and character particulars completed, nonetheless they don't create momentum. Rather, we are proven how each individual within the Lambroke family individually carries the gift for spiritual sightings. Finally, in the scene late inside the second act, everything boils finished bitterness together with a gun is elevated. Which will declare that everything happen to be being applied, but McPherson has rarely lifted the dramatic temperature. Everyone emerges a different perspective however with one another the play eventually ends up showing simply an inert group portrait. To pay for, the heavens use producing from the effort than needs to be necessary. Peter McDonald particularly fearlessly is applicable to broke in the fantasia of drunken bravado, but even he struggles with the fact the writing has so litle if this involves metaphor. In the author as gifted as McPherson, the evening can be a particular disappointment. Just like a director he encourages beautiful, period design work but Neil Austin's moody lighting round the dwindling grandeur of Rae Smith's detailed house is more atmospheric in comparison to writing. What McPherson doesn't do is energize their very own script.Sets and costumes, Rae Cruz lighting, Neil Austin appear, Paul Arditti music, Stephen Warbeck production stage manager, Simon Dodson. Opened up up, examined March. 4, 2011. Running time: 2 Several hours, 30 MIN. Contact David Benedict at benedictdavid@mac.com