Difficulties: 'Politicians are Sh*theads'

As he is not raging the Kardashians, Difficulties is getting his anger on political figures. "Political figures are shitheads," Craig apparently stated inside a new interview with Men's Journal (not online). "That's the way they become political figures, the high quality ones. We are stars, we are artists, we are excellent to one another. They'll change and stab you within the fucking back." Craig removes the majority of his aggressions on former British Pm Tony Blair. "Tony Blair began it a lot more than anybody's ever done. 'Go and also have tea at 10 Downing Street.' It might be 'Mephisto,'" the 'Dragon Tattoo' star stated, conflating political elbow-rubbing these days using the 1936 novel a good actor saddling track of the Nazi party to enhance his career. Obviously, Craig is vulnerable to speaking his mind. "Consider the Kardashians, they are worth millions. Millions!" he apparently told the British edition of GQ recently. "I do not think these were that badly off to start with, however take a look at them. The thing is might you believe, 'What, you mean all I must do is become a fucking idiot on tv after which you'll pay me millions?'" You can observe an infinitely more staid version of Craig onscreen now in 'The Girl Using the Dragon Tattoo.' He returns towards the scren as 007 when 'Skyfall' has gone out in theaters the coming year. [via Huffington Publish, NYT/ArtsBeat] [Photo: WireImage] Follow Moviefone on Twitter Like Moviefone on Facebook

Reviews migrate from TV to Web

Gene Siskel and Roger Ebert located 'At the films,A TV's benchmark film critique show.When Roger Ebert introduced a week ago he had unwillingly put his TV series "Ebert Presents in the Movies" on hiatus, it might have marked the finish of the genre he assisted create a lot more than 35 years back: the public film-critic debate."It's difficult. Our problem wasn't audiences but financing," Ebert describes within an email. Outdoors of the $25,000 grant, Ebert bankrolled the show themself."Our rankings pleased public television, and that we would be around the air had we found financing," he adds, "but in this tight economy public television is struggling with lack of underwriting. In my opinion time is here now for PBS to think about more permissive recommendations for sponsorship."In 1975, Ebert, the Pulitzer Prize-winning film critic from the Chicago Sun-Occasions, and the mix-town rival Gene Siskel, from the Chicago Tribune, produced "Sneak Previews" for any local TV station. It gone to live in PBS and rapidly grew to become among its most widely used series.Ebert and Siskel left that demonstrate in 1983 to host a number of syndicated shows, usually using the phrase "In the Movies" within the title. Siskel died in 1999, so when Ebert was identified with thyroid cancer in 2006, he continued to be a producer around the series, which eventually wound up pairing Richard Roeper and also the Chicago Tribune's Michael Phillips within the balcony.Ebert left once the studio searched for a more youthful audience using the unskilled critic Ben Lyons (whom Ebert considered "a tragedyInch). The year after, producers corrected course and cut back Phillips, alongside the NY Times' A.O. Scott. The show stopped production this year.InchWe'd favorable rankings in marketplaces where we'd favorable timeslots," Phillips states. "Marketplaces (with) early-morning slots were not doing us any favors. I believe people assumed i was selling Gold Bond body powder."Couple of have tried to replicate Siskel and Ebert's entertaining bickering chemistry. PBS ongoing "Sneak Previews" to diminishing returns for an additional decade. In 2000, Forex introduced the short-resided "The Brand New Movie Show," having a critics' roundtable talking about movies and trends.The proliferation of online movie sites might have broken the genre, though Ebert highlights, "Our rankings on public TV dwarfed the audiences for netcasts."Still, states AP film critic Christy Lemire, who seems on "Ebert Presents" and also the vlog "Exactly what the Flick?," "People want what they need plus they need it now. Why hold back until 6 p.m. on the Sunday to look at my show when you are able use the internet? Hopefully, ('Ebert Presents') provides another degree of analysis."You will find benefits and drawbacks" to TV and vlogs, she adds. "What's fun about 'What the Flick?' is you will find there's a bit more space. It's like watching buddies getting a conversation, that is exactly what it's. The advantage of standing on TV is, you need to reach your points succinctly making them count. Let me think we are inside a world where both shows aren't mutually exclusive.""It is a strange period if you are a thoughtful film critic -- -- there's hardly any perspective about movies before 1975, particularly from people offering those reviews free of charge online," states Alonso Duralde, who seems with Lemire on "Exactly what the Flick?" He worries the shelf-existence from the genre might be ending. "If Ebert can't get it done, it is a little nerve-wracking for other people going for a stab in internet marketing.InchPhillips is not as pessimistic: "You are able to yak all that's necessary concerning the dying of film critique, but it is not disappearing anymore compared to film market is disappearing. General audiences and cinephiles alike will always be searching for a genuine broker within the opinion game. There's a method to get intelligent discuss the films into the national conversation. You simply need the best people along with a format that actually works, and does not feel busy or gimmicky."EYE Around The Academy awards: CRIX PICKS Chatter splatter Regional experts flex muscles in Oscar race Reviews migrate from TV to Web Contact the range newsroom at news@variety.com

German cartel office clears Liberty cable deal

BERLIN -- Germany's federal antitrust watchdog, the Bundeskartellamt, has approved Liberty Global's 3.16 billion ($4.1 billion) acquisition of regional cabler Kabel Baden-Wuerttemberg. Liberty will probably merge Kabel BW having its Unitymedia, Germany's second-finest regional cabler, which John Malone's company acquired this past year for a lot of $5 billion. The watchdog mentioned on Thursday it had removed the sale "prone to conditions and obligations." In October the cartel office expressed concerns in regards to the deal, stating that could strengthen the oligopoly inside the country wide certification market presently centered with the country's finest cable operator, Kabel Deutschland, Unitymedia and Kabel BW. Because the antitrust regulator mentioned the planned merger may have a bad impact on the feed-in market indicated with the competitive relationship involving the cable network operators and tv channels, it added that Liberty had made the decision to several obligations which will increase competition options of third companies. Housing associations in Unitymedia and Kabel BW's parts of operation will probably be granted special contract termination rights, which causes it to be achievable to look for less pricey cable companies. "Liberty undertakes to grant special termination rights for large contracts for retail TV services also to finish its file file encryption of digital free TV programs. The business has furthermore made the decision to forgo certain exclusivity clauses and possession claims or rights to dismantle household contacts,Inch the watchdog mentioned. Bundeskartellamt prexy Andreas Mundt added, "This merger could just be removed with far-reaching obligations with the companies involved. We presently see the chance of more competition inside the cable areas. While using obligation to start up large extended-term contracts while using housing marketplace, and quit further contractual rights together with the essential file file encryption of digital free TV programs, the unwanted effects in the merger are compensated out." For Liberty, the victory comes 10 years after cartel government physiques foiled Malone's plan to buy Germany's entire cable system for $5 billion from telco giant Deutsche Telekom. Contact Erection dysfunction Meza at staff@variety.com

Broadway Producers Are Looking to America's Heartland for the Next Megahit

When the producers of "Newsies" announced its Broadway run, it wasn't the first time that fans of the cult-favorite 1992 film on which the stage musical is based had reason to get excited. The show premiered at New Jersey's Paper Mill Playhouse in September, and it's one of several productions transferring to Broadway this season from regional theaters."Regional theaters offer a nurturing environment and an economical alternative that allows a really introspective look on the piece itself," says Mark S. Hoebee, Paper Mill's producing artistic director. "You want to put enough money into it that you can provide the production that the show deserves, but you don't want to overspend to the point where you may be killing the future of the project."Regional theater has always been a breeding ground for Broadway hits, especially in recent years, and this season shows such as "Chinglish" and "Hugh Jackman: Back on Broadway" started outside NY. Even a producing behemoth like Disney Theatrical Productions, whose long-running Broadway hits include "The Lion King" and "Mary Poppins," chose to debut "Newsies" away from the glare of the spotlight."The problem with developing and opening cold in NY is the artists don't have a lot of room to breathe," says producer Ken Davenport, whose current Broadway shows are "Chinglish" and "Godspell." "They're under a lot of different economic constraints and time constraints that don't allow them to do their best work. So we put them in places where they can have a little more breathing room."Gettin' Out of Town The tradition of shows opening outside the city goes all the way back to musical theater's beginnings, when an out-of-town tryout would precede the move to Broadway. In recent years, shows such as "Wicked" and "The Addams Family" have used this model, but this path is becoming increasingly difficult and expensive, says Davenport, and leads audiences to make certain assumptions."The moment you're tagged as an out-of-town tryout and don't come right in, people go, 'Oh, they obviously have more work to do,' " Davenport explains. "Musicals are big things, and sometimes it takes them a long time to get where they need to go."Jeff Calhoun, director of the Paper Mill and Broadway productions of "Newsies," agrees that the regional environment is more conducive to creating new work. "The concentration is really on the work and nurturing the artist," says Calhoun, who also directed the regional and Broadway incarnations of "Bonnie & Clyde." "As we know, on Broadway that's not necessarily the case. It's more about putting a star into a vehicle, whether or not they're the best actor for the role."Part of what makes regional theaters nurturing is their long-term relationships with artists, says Michael Rosenberg, managing director of California's La Jolla Playhouse. La Jolla produced the world premiere of "Bonnie & Clyde," and a Broadway-bound revival of "Jesus Christ Superstar" is playing there now. The theater has created 18 works that have transferred to Broadway.Of course, not everything artists produce is going to be great, but letting them try new things is necessary to maintain the relationship. "If you're going to have big rewards, you have to take big risks," Rosenberg says. "And if you take big risks, sometimes you're going to fail in a really big way."Theaters like La Jolla have been tagged "launching pads" for potential Broadway shows, says Davenport, and in the Internet age, anyone can learn all about a production from the moment the curtain falls on opening night. But Rosenberg doesn't feel the pressure."Trying to guess what should be on Broadway is not what we do, especially when you look at how long it takes to develop these projects," he says, adding that "Bonnie & Clyde" played Florida's Asolo Repertory Theatre before moving to Broadway last month. "For some projects, Broadway is not the ultimate goal."Audience Response In fact, the producers of "Newsies" had many options other than Broadway, such as licensing the material to schools or taking it on tour, as Disney has done with shows like "Aladdin" and "High School Musical." What drove "Newsies" to the Great White Way was audience response."It was the reaction of the press and the patrons to 'Newsies' that gave [the producers] the confidence that it was ready to move into NY," says Hoebee.Davenport thinks the audience's response is the most important benefit of a regional run, as it gives information that's crucial to the show's development. An out-of-town audience won't always react to a show the same way a NY audience will, but regional audiences are sometimes a good barometer for how tourists will respond."Sixty-five percent of the Broadway audience is from out of town," Davenport points out. "Sometimes an out-of-town audience can give you a much better idea of what the tourist audience is going to say about your show."Creative Process Once a show is set for Broadway, there will often be cast and other creative changes before it transfers, as commercial producers will frequently seek a marketable star to draw ticket buyers rather than trusting the work itself.Jennifer Lim, now starring in "Chinglish," has been with the project from the beginning and knew she could lose her role at any time. "It's business," she says. "It would be a waste of my energy to take things personally that have nothing to do with me. If they had decided they wanted to cast a star in the role, I'm not a star. I'd rather focus on the things that I can do instead of all the things that I can't."Calhoun says there will be casting changes when "Newsies" comes to Broadway. Jeremy Jordan, who starred in the Paper Mill production, is currently playing Clyde Barrow in "Bonnie & Clyde" and might not be available for the Broadway run of "Newsies," but Calhoun can't confirm casting specifics."It's really just because it's in the best interest of the show," he says of casting changes. "My job is the same no matter who the actor is."As an actor, Lim says, one of the benefits of being with "Chinglish" for its entire development is that she became so familiar with the play, she was an asset to playwright David Henry Hwang and director Leigh Silverman as they worked to improve it. Davenport adds that when a show starts regionally, some of the smaller roles can be filled with local hires, giving them the opportunity to work with a Broadway-caliber creative team.Whether a production is going to a regional theater or to Broadway, says Calhoun, putting it up is the same: "There's nothing you do on Broadway that you didn't do in your high school. You care just as much about a regional show as you do a Broadway show, if not more. In the regional, you're trying to get it to NY."Producing a successful show takes more than careful planning, however. Sometimes the stars really do need to align."It's our version of a kid playing basketball in his driveway and thinking, 'Maybe I'll play for the Boston Celtics someday,' " says Davenport. "I don't think anyone does a show in this country without some dream of it ending up on Broadway." By Suzy Evans December 14, 2011 "Newsies" at Paper Mill Playhouse PHOTO CREDIT T. Charles Erickson When the producers of "Newsies" announced its Broadway run, it wasn't the first time that fans of the cult-favorite 1992 film on which the stage musical is based had reason to get excited. The show premiered at New Jersey's Paper Mill Playhouse in September, and it's one of several productions transferring to Broadway this season from regional theaters."Regional theaters offer a nurturing environment and an economical alternative that allows a really introspective look on the piece itself," says Mark S. Hoebee, Paper Mill's producing artistic director. "You want to put enough money into it that you can provide the production that the show deserves, but you don't want to overspend to the point where you may be killing the future of the project."Regional theater has always been a breeding ground for Broadway hits, especially in recent years, and this season shows such as "Chinglish" and "Hugh Jackman: Back on Broadway" started outside NY. Even a producing behemoth like Disney Theatrical Productions, whose long-running Broadway hits include "The Lion King" and "Mary Poppins," chose to debut "Newsies" away from the glare of the spotlight."The problem with developing and opening cold in NY is the artists don't have a lot of room to breathe," says producer Ken Davenport, whose current Broadway shows are "Chinglish" and "Godspell." "They're under a lot of different economic constraints and time constraints that don't allow them to do their best work. So we put them in places where they can have a little more breathing room."Gettin' Out of Town The tradition of shows opening outside the city goes all the way back to musical theater's beginnings, when an out-of-town tryout would precede the move to Broadway. In recent years, shows such as "Wicked" and "The Addams Family" have used this model, but this path is becoming increasingly difficult and expensive, says Davenport, and leads audiences to make certain assumptions."The moment you're tagged as an out-of-town tryout and don't come right in, people go, 'Oh, they obviously have more work to do,' " Davenport explains. "Musicals are big things, and sometimes it takes them a long time to get where they need to go."Jeff Calhoun, director of the Paper Mill and Broadway productions of "Newsies," agrees that the regional environment is more conducive to creating new work. "The concentration is really on the work and nurturing the artist," says Calhoun, who also directed the regional and Broadway incarnations of "Bonnie & Clyde." "As we know, on Broadway that's not necessarily the case. It's more about putting a star into a vehicle, whether or not they're the best actor for the role."Part of what makes regional theaters nurturing is their long-term relationships with artists, says Michael Rosenberg, managing director of California's La Jolla Playhouse. La Jolla produced the world premiere of "Bonnie & Clyde," and a Broadway-bound revival of "Jesus Christ Superstar" is playing there now. The theater has created 18 works that have transferred to Broadway.Of course, not everything artists produce is going to be great, but letting them try new things is necessary to maintain the relationship. "If you're going to have big rewards, you have to take big risks," Rosenberg says. "And if you take big risks, sometimes you're going to fail in a really big way."Theaters like La Jolla have been tagged "launching pads" for potential Broadway shows, says Davenport, and in the Internet age, anyone can learn all about a production from the moment the curtain falls on opening night. But Rosenberg doesn't feel the pressure."Trying to guess what should be on Broadway is not what we do, especially when you look at how long it takes to develop these projects," he says, adding that "Bonnie & Clyde" played Florida's Asolo Repertory Theatre before moving to Broadway last month. "For some projects, Broadway is not the ultimate goal."Audience Response In fact, the producers of "Newsies" had many options other than Broadway, such as licensing the material to schools or taking it on tour, as Disney has done with shows like "Aladdin" and "High School Musical." What drove "Newsies" to the Great White Way was audience response."It was the reaction of the press and the patrons to 'Newsies' that gave [the producers] the confidence that it was ready to move into NY," says Hoebee.Davenport thinks the audience's response is the most important benefit of a regional run, as it gives information that's crucial to the show's development. An out-of-town audience won't always react to a show the same way a NY audience will, but regional audiences are sometimes a good barometer for how tourists will respond."Sixty-five percent of the Broadway audience is from out of town," Davenport points out. "Sometimes an out-of-town audience can give you a much better idea of what the tourist audience is going to say about your show."Creative Process Once a show is set for Broadway, there will often be cast and other creative changes before it transfers, as commercial producers will frequently seek a marketable star to draw ticket buyers rather than trusting the work itself.Jennifer Lim, now starring in "Chinglish," has been with the project from the beginning and knew she could lose her role at any time. "It's business," she says. "It would be a waste of my energy to take things personally that have nothing to do with me. If they had decided they wanted to cast a star in the role, I'm not a star. I'd rather focus on the things that I can do instead of all the things that I can't."Calhoun says there will be casting changes when "Newsies" comes to Broadway. Jeremy Jordan, who starred in the Paper Mill production, is currently playing Clyde Barrow in "Bonnie & Clyde" and might not be available for the Broadway run of "Newsies," but Calhoun can't confirm casting specifics."It's really just because it's in the best interest of the show," he says of casting changes. "My job is the same no matter who the actor is."As an actor, Lim says, one of the benefits of being with "Chinglish" for its entire development is that she became so familiar with the play, she was an asset to playwright David Henry Hwang and director Leigh Silverman as they worked to improve it. Davenport adds that when a show starts regionally, some of the smaller roles can be filled with local hires, giving them the opportunity to work with a Broadway-caliber creative team.Whether a production is going to a regional theater or to Broadway, says Calhoun, putting it up is the same: "There's nothing you do on Broadway that you didn't do in your high school. You care just as much about a regional show as you do a Broadway show, if not more. In the regional, you're trying to get it to NY."Producing a successful show takes more than careful planning, however. Sometimes the stars really do need to align."It's our version of a kid playing basketball in his driveway and thinking, 'Maybe I'll play for the Boston Celtics someday,' " says Davenport. "I don't think anyone does a show in this country without some dream of it ending up on Broadway."

Randy's rules to find the best seem

Randy ThomSound designer and Oscar champion Randy Thom has already established an enormous affect on the skill of film seem through both his work and the writing. Couple of have described so clearly what adopts making great seem for movies.Variety spoke to Thom and requested him to put out his core ideas, then spoke to seem pros from a number of the 2011 movies about how exactly these ideas affect their pictures. We split the solutions in to the two Oscar seem groups, seem mixing and seem editing.Sounds should be articulated clearlyEven when you are knee deep within the sonic landscape of the action film, sounds need to be distinct. Move them forward or to keep your overall seem from getting muddy.Make room for silence between soundsMoments of silence or quiet are very important within the overall seem style of a movie. Much like breaks in musical composition, individuals occasions provide the audience a rest and in addition they make whatever uses the quiet appear more impactful and significant.Moderate using dialogue Other sounds requires a back chair whenever someone's speaking. Films which use dialogue sensibly open themselves up for greater utilization of seem.If you need to choose, choose dramatic sense over technical precision Sometimes the seem of the actual explosion will not have a similar emotional impact as another seem changed to represent what you are seeing onscreen. In the event that boom works out to become the noise of the cent rattling around in vacuum, expect.Attention around the Academy awards: Vfx, Seem & Editing Thesps up f/x respect Longtime teams keep work fresh Randy's rules to find the best seem Seem editing: Always make dramatic sense Seem Mixing: Which makes it all feel real Digital tools add quality, spend less Contact the range newsroom at news@variety.com

'X Factor U.K.'s' Little Mix Become First Female Group To Win Series

Fox Searchlight Pictures The Descendants, Alexander Payne's drama of a family in Hawaii dealing with an urgent situation, was named best film of year with the La Film Experts Association. The Fox Searchlight release won over another Searchlight title The Tree of Existence, which was runner-up.our editor recommendsDoris Day to obtain Career Achievement Award From La Film Experts AssociationNew tunes, rarities on Chemical Brothers and sisters set But Terrence Malick was named best director of year for Existence, his meditation around the idea of everything. His nearest competition came from from Martin Scorsese, who acquired runner-up status for Hugo. Professionals group attracted an unpredicted from the hat by choosing South Korean actress Yun Jung-Hee becasue it is best actress on her behalf performance just like a lady facing Alzheimer's in Poetry. Runner-up was Kirsten Dunst for Melancholia. Michael Fassbender was presented with the most effective actor award for his four films: Shame, A Dangerous Method, Jane Eyre and X-Males: Top Quality. The course's runner-up was Michael Shannon for Take Shelter. Jessica Chastain was named best supporting actress for your six films through which she came out this year: The Tree of Existence, The Help, Your Financial Troubles, Take Shelter, Coriolanus and Texas Killing Fields. Jesse McTeer was runner-on her performance in Albert Nobbs. Christopher Plummer was designated in addition to supporting actor for his turn just like a widower who arrives late around in Focus' Beginners. Because category, Patton Oswalt was recognized as runner-up for Youthful Adult. A Separation, the Iranian submission to find the best foreign-language Oscar, acquired the script award for Asghar Farhadi, who also directed the film. The Descendants checked in as runner-up due to its authors Alexander Payne, Nat Faxon and Jim Rash. Inside the foreign film category, though, A Separation was runner-up, while using award going rather to Lu Chaun's Capital of scotland - Existence and Dying. Dante Ferretti, who created the elaborate Parisian stay in Vital's Hugo, was paid out while using prize for production design. Maria Djurkovic acquired runner-up honors for your spy tale Mess Tailor Solider Spy. The cinematography award visited Emmanuel Lubeski for Terrence Malick's regal The Tree of Existence, released by Fox Searchlight. Cao Yu was selected runner-up for Capital of scotland - Existence and Dying. Caffeine Brother's score for Focus' thriller Hannawas named best score withCliff Martinez's use Driveas runner-up. Werner Herzog's Cave of Forgotten Dreams, the director's 3d have a look at prehistoric cave pieces of art, needed the prize for top documentary. Clio Barnard's The Arbor was runner-up. Rango was named best animated film, while using Adventures of Tintin as runnerup. The Doublas Edwards Independent/Experimental Award visited Bill Morrison's Spark to become. LAFCA gave its New Generation award for the creative team behind Martha Marcy May Marlene: Author/director Sean Durkin, producers Antonio Campos and Josh Mond and actress Elizabeth Olsen. Inside a previous meeting in October, the crowd also introduced it's adoring Doris Day having its Career Achievement Award. LAFCA 2011 champion and runner-up complete list: BEST PICTURE Champion: The Descendants Runner-Up: The Tree of Existence BEST ANIMATION Champion: Rango Runner-Up: The Adventures of Tintin BEST DIRECTOR Champion: Terrence Malick, The Tree of Existence Runner-Up: Martin Scorsese, Hugo BEST ACTOR Champion: Michael Fassbender, A Dangerous Method, Jane Eyre, Shame, X-Males: Top Quality Runner-Up: Michael Shannon, Take Shelter BEST ACTRESS Champion: Yun Jung-Hee, Poetry Runner-Up: Kirsten Dunst, Melancholia BEST INDEPENDENT/EXPERIMENTAL Champion: Spark to become BEST DOCUMENTARY/NONFICTION Champion: Cave of Forgotten Dreams RunnerUp: The Arbor BEST Script Champion: Asghar Farhadi, A Separation Runner-Up: Alexander Payne, Nat Faxon, Jim Rash, The Descendants BEST SUPPORTING ACTOR Champion: Christopher Plummer, Beginners Runner-Up: Patton Oswalt, Youthful Adult BEST SUPPORTING ACTRESS Champion: Jessica Chastain, Coriolanus, Your Financial Troubles, The Help, Take Shelter, Texas Killing Fields, The Tree of Existence Runner-Up: Jesse McTeer, Albert Nobbs BEST CINEMATOGRAPHY Champion: Emmanuel Lubezki, The Tree of Existence Runner-Up: Cao Yu, Capital of scotland - Existence and Dying BEST PRODUCTION DESIGN Champion: Dante Ferretti, Hugo Runner-Up: Maria Djurkovic, Mess Tailor Soldier Spy BEST MUSIC/SCORE Champion: Caffeine Brothers and sisters, Hanna Runner-Up: High high cliff Martinez, Drive PHOTO GALLERY: View Gallery 'The Descendants' Premiere Red-colored-colored Carpet Arrivals PHOTO GALLERY: View Gallery Your building of 'The Descendants' Christopher Plummer Jessica Chastain Michael Fassbender The Tree of Existence Hanna Hugo

Scott Rudin on 'Extremely Loud and Incredibly Close' Waiting Game: 'It's a Movie, Not a Worm on the End of a Hook'

For Scott Rudin quote aficionados , this has been a banner five days. The brusque super producer began the week by blasting NYer film critic David Denby in an email for breaking the 'Girl With the Dragon Tattoo' embargo. "The needs of the magazine cannot trump your word," Rudin wrote in an email. "The fact that the review is good is immaterial, as I suspect you know. You've very badly damaged the movie by doing this, and I could not in good conscience invite you to see another movie of mine again." Burn! But it's not just Denby who gets wrath-y emails from Rudin -- it's the NY Times too. For an article about 'Extremely Loud and Incredibly Close' -- the new Tom Hanks/Sandra Bullock film that Rudin produced, and the last remaining major Academy Awards contender to screen for critics and tastemakers this year -- Rudin was asked about his latest bit of "Oscar bait." "Feel free to write what you want, as I don't especially care," Rudin wrote in an email to reporter Brooks Barnes. "It's a movie, not a worm on the end of a hook." Double burn! You just know Denby is reading this right now and sniggering to himself. Whether 'Extremely Loud and Incredibly Close' capitalizes on its positioning as an Oscar film is probably of minimal consequence to Rudin. The producer -- who won a Best Picture Oscar in 2007 for 'No Country for Old Men' -- also produced the aforementioned 'Girl With the Dragon Tattoo' and 'Moneyball,' two other high-profile Academy Award contenders. 'Extremely Loud and Incredibly Close' hits theaters in limited release later this month. [via NYT] [Photo: Warner Bros.] Follow Moviefone on Twitter Like Moviefone on Facebook

12 Galleries-Marketers, 29 Films, 9 Moguls: The Challengers Deadline Hollywood Event

Deadline Hollywood has always attempted to innovate while other showbiz media shops basically imitate. So Ive produced a 2-day event totally free to participants and guests known as ‘THE Challengers’. Each studio and distributor, major and indie, willmake an exhibition of the Award contender films straight to asked Academy Of Movement PictureArts & Sciences membersand choose Hollywood Guild people. Guests can chooseto come for just one day or both days.This free event includes gratis Buffet Lunch focused by premium La restaurants Craig’s (Saturday) and also the Capital Grille (Sunday). ‘THE Challengers’has chock-full so quick that people’re now openinga second theatre to accomodate everyone else. Individuals current AMPAS people who didn’t receive their invites for reasons uknown (we'd lots of complaints about our mailing house) can stillgain admittance by contacting RSVP@deadline.com or calling the RSVP line at 310-484-2572 before Friday noon.Like a last measure current AMPAS memberscancome straight to the Landmark Theatre on 10850 West Pico Blvd in La Saturday and/or Sunday. ‘THE Challengers’ event has gotten official notification it falls inside the Academy’s approved recommendations. Current AMPASand choose Hollywood Guild people ought to know that entrance and seatingto ‘THE Challengers’ is on the ‘first come, first serve’ basis and it is in no way guaranteed. Noguests permitted. Each invitee must go through security clearance and showAcademy or Guild identification cardsto gain admittancethroughout your day. But we recommend you're able to the theatre as soon as 9 AMon Saturday and/or Sunday to make sure prime seating.Check-instarts at 10 AM and presentations continue until 5 PM.Remember that theMogul Q&A Sections at 2 PM Saturday (majors) and Sunday (indies) will fill rapidly. Sponsors:Rentrak, Screen Engine, Paradigm, Dell, Barnes and Noble.

Popular Cinema's Dude-Sex Drought

I think it’s the best thing ever, but others’ mileage seems to vary — convincingly so, regarding films like The Hangover Part II and The Change-Up: “It’s ridiculous; it’s like, one minute the skeevy dude in the married dude’s body is like ‘I’M GOING TO BANG YOUR WIFE’ and then he’s overcome by feelings and can’t and the uptight dude in the player-dude’s body is like ‘I’M GOING TO BANG THIS HOT WONDERFUL CHICK’ and then he just can’t because of also his feelings. So… somehow, no one ends up having sex.” Hmm. May I suggest Shame? [The Awl]