Behind the Scenes of the 'Victoria's Secret Fashion Show'

Pascal Le Segretain/Getty Images Well, that didn't take long.our editor recommendsI'm Quitting the Biz: 16 Hollywood Retirements (and 'Retirements')Steven Soderbergh Exits Warner Bros.' 'Man From U.N.C.L.E.' A week and a half after parting ways with Warner Bros. over a planned remake of Man from U.N.C.L.E., Steven Soderbergh is bouncing back. The prolific filmmaker is reteaming with his U.N.C.L.E. writer Scott Z. Burns for The Bitter Pill, a new project that is being pitched to studios now and is fielding multiple bids. PHOTOS: I'm Quitting the Biz: 16 Hollywood Retirements (and 'Retirements') Lorenzo di Bonaventura is producing with Soberbergh's longtime producing partner Gregory Jacobs and Burns. Soderbergh, Jacobs and Burns are the director-producer-writer, respectively, behind the recent Warner Bros. films Contagion and The Informant! Little is known about Bitter Pill, although it is described as a thriller set in the world of psychopharmacology. STORY: AFI Fest: Secret Screening Is Steven Soderbergh's 'Haywire' Soderbergh, who has the spy action movie Haywire coming out in January and the male-stripper dramedy Magic Mike set for June, was due to direct U.N.C.L.E. next year but left the project over differences in budget and casting. Email: Borys.Kit@thr.com Twitter: @Borys_Kit PHOTO GALLERY: View Gallery I'm Quitting the Biz: 16 Hollywood Retirements (and 'Retirements') Lorenzo di Bonaventura Steven Soderbergh

Golden Globe contenders for comedy and musical

Any number of 2011 dramedies could validly compete in either of the Globes' top categories. Pix producers make those determinations, and when the dust settles the top contenders for best motion picture comedy or musical are the following.The ArtistClassic precursor: Splashy, Gallic show biz nostalgia a la Baz Luhrmann's "Moulin Rouge!"Chances for a nom: Embodying the very Globes themselves (international flavor + Hollywood glamour), pic looks tres bien for Jan. 15.If not the big one: Silent star Jean Dujardin should make big noise. * * * BeginnersClassic precursor: Intergenerational poignancy in a vein similar to 2007's "The Savages."Chances for a nom: Perhaps too far outside the mainstream for HFPA tastes.If not the big one: Two-time nominee Christopher Plummer has garnered buzz all year -- third time's the charm? * * * BridesmaidsClassic precursor: Like 2009's winner "The Hangover," laffer boasts heart and point beyond its ewwww-inducing bits.Chances for a nom: Mighty good, though could just get edged out by the classier entries.If not the big one: Melissa McCarthy's comedy styling made for one of the year's most memorable supporting turns. * * * CarnageClassic precursor: Two married couples clash in all conceivable pairings, just as in "Who's Afraid of Virginia Woolf?"Chances for a nom: Doesn't inspire the same laughs as did the play.If not the big one: Likeable, schlubby John C. Reilly may be due for nod number four. * * * Crazy Stupid LoveClassic precursor: A younger player helps his older friend make sense of the dating scene, reminiscent of 2004 winner "Sideways."Chances for a nom: Foreign press has a thing for romantic comedies, and this was one of 2011's classiest.If not the big one: Nominated last year for "Easy A," Emma Stone could repeat for either this or "The Help." * * * FootlooseClassic precursor: The original didn't make the cut in 1984, but a year earlier another Paramount hit involving young people who'd give anything to dance did: "Flashdance."Chances for a nom: The HFPA likes to sneak a tuner into the mix whenever it can, even underperforming ones like "Nine" or "Burlesque."If not the big one: One of eight new songs might be singled out, maybe "Fake I.D." or "Where the River Goes." * * * Midnight in ParisClassic precursor: Echoes Allen's previous, nominated Paris love letter, "Everyone Says I Love You," with the time-travel conceit replacing the musical numbers.Chances for a nom: They love Woody when he takes his wry camera overseas, cf. 2008's winner "Vicky Cristina Barcelona."If not the big one: Kathy Bates makes an indelible impression as Gertrude Stein. * * * My Week With MarilynClassic precursor: A young showbiz aspirant learns stardom's heartaches up close and personal; shades of 1982's "My Favorite Year."Chances for a nom: Insider peek at bygone filmmaking is right up the HFPA's alley.If not the big one: Kenneth Branagh's spot-on supporting turn as Olivier is both wicked and poignant. * * * Young AdultClassic precursor: Relentless romantic obsession on the order of Truffaut's "The Story of Adele H.," transposed to our shores.Chances for a nom: A cynic might predict Mavis Gary's materialism and self-absorption will play into the foreign press's favored American stereotypes.If not the big one: Could Charlize Theron find a role more unpleasant than GG-winning "Monster," Aileen Wuornos? Watch and marvel. * * * GOLDEN GLOBES RACETops in tubthumps? Best Picture: Drama | Best Picture: Comedy or Musical | Television | Animation Contact the Variety newsroom at news@variety.com

Artist Director Michel Hazanavicius on Auteur Pride, Hollywood and Surviving the Awards Marathon

It was probably just a matter of time before French filmmaker Michel Hazanavicius broke through in the United States: His OSS 117 diptych of spy spoofs had already acquired something of an international audience, and his curiosity about Hollywood has grown alongside his reputation. But no one — least of all Hazanavicius himself — likely foresaw him breaking through with The Artist. Which says more about our culture’s lack of vision than Hazanavicius’s own. After all, he was the one who conceived and executed an honest-to-goodness black-and-white silent film about George Valentin (Jean Dujardin), a silent-era Hollywood superstar relegated to obscurity as talkies — led notably by George’s erstwhile co-star Peppy Miller (Brnice Bejo) — surge to the fore. The rest is history — or it will be history, anyway, if The Artist’s devotees continue mobilizing on its behalf in the awards race. Hazanavicius just made it look easy, though. He recently talked to Movieline about the untold challenges before, during and after making his masterpiece, up to and including what’s next for the artist behind The Artist. How are you holding up in the Artist marathon? It’s not so easy day after day from a personal point of view, because I have kids, and they’re in Paris, and I don’t see them enough. And a lot of the time you say the same kinds of things, and there’s just one subject of discussion — your own movie. It’s not so easy. But in another way, I don’t feel I have the right to complain, because it’s a good story for the movie. And the movie goes well. So I feel like a soldier serving the movie. A soldier for The Artist! Yes, in a way. So what’s the one question you’ve never been asked about The Artist that maybe you wish you’d been asked? Well, it’s not a question, but I feel like… To me, it’s really a director’s movie. And I could spend hours talking about how the line of the story is conceived — which image is important to understand, [or] how to understand at the end why we did that. All the complexity! It’s a very complex device, this movie. I know that the people who see it once, first they get the format. It’s a really strong experience of the format; they love everything because of the format. But I really don’t think they see the movie. I think they really enjoyed the experience of the silent movie. And that’s great. But I feel like I could spend more time talking about the complexity — the directing. It’s complex. How fundamentally different is making a silent film from making a sound film? They’re ultimately both visual storytelling, right? Yeah, but usually you try create some images when you’re doing a normal movie, yet you’re not attached to that. Sometimes you don’t need images. You know that a character can explain something. At one point in the movie, the action stops and people explain what’s going on. For example, there’s the professor in Back to the Future who says, “OK, this is where we are in the script.” You can’t have that [in a silent film]; you’re attached to images. It’s very different to have just that tool. It’s very freeing in a way, because I think the audience is really ready to accept some illustration of conflict, of feeling, of something — a visual illustration that they would not accept in a normal movie. For example, at one point, the character has a problem with himself. He thinks he acted bad. In the silent movie, he can argue with himself. You don’t usually do that in a normal movie. This is different. Your freedom is different. The limits are also different. You have to take another path to tell the story. George is also very proud, both as an actor and a filmmaker — which interferes with his ability to work and create. Is that an obstacle you’ve ever battled as a director, on set or otherwise? I think pride is a motivation… I don’t have the good word in English. An engine? A bad engine. Pride makes people move, and usually they make bad moves. In this case, pride moves him to create, but it also moves him to love. But in my case? I guess I’m like everybody. It makes me do some things. I try to fight against it, but, yeah. To what degree to you relate to George’s struggle against pride, if at all? Not too much, because [the reason] why George doesn’t want to do talking movies is about fear. I think he’s afraid of doing something else. He’s afraid of what might happen to his small enterprise. He’s selling himself — everything works well, and suddenly… [Hazanvicius’s mobile phone alights with a call from Bejo.] Annnnd right on cue! [Answering] Brnice? [Deploys a French phrase and hangs up.] I love it. So I think he’s afraid of changing. I can consider myself maybe proud, but I’m not afraid. Fear is really not something I consider when I’m working. My motivations are more about pleasure and desire. That’s what I’m looking for. I don’t really care about fear. Going back to the complexity of making this film, was there ever a specific scene moment where you thought, “Yes! We’ve got it!” Or on the contrary — a crisis of faith on the set, perhaps? Not on the set. During the writing process, yes. It’s the same every time. I don’t know anybody strong enough to not doubt. I mean, the only thing is what you do with the doubt. I think doubt can be very constructive, but it can also be destructive. So script after script, I try to use the doubt in a constructive way. For this it was a little different because all the markets say, “It’s not a doable movie. You cannot make this movie.” So you really feel alone for a long time with that kind of movie. Fortunately I met this wonderful producer, Thomas Langmann, who really has some panache. He’s been very supportive, and he gave me his confidence and pushed me in a good way. So I feel so overwhelmed. But when I was writing, this was really new — to write a silent movie. But I was watching things like City Lights by Charlie Chaplin, and that helped me a lot. When I was watching the movie, I thought, “I have to continue. There is a movie to make here.” How much of the struggle of making this movie is actually getting it to audiences? Is the principle struggle behind you, or is there more to come? The movie opened in France, and the figures are excellent. We don’t count in money, we count in seats. So to give you an example, for my last movies we did 2.3 million for the first one and 2.5 million for the second one. And that is a really big success. For this one I think we’re going to do between 1.8 million and 2 million — which is huge for any kind of movie. Imagine for a black-and-white silent movie! It’s just incredible. So I want it behind me, but in a way, everything that comes now is a plus. A plus, a plus, a plus. I have to say, I’m a really lucky guy, because there’s a lot of plus. I mean, I never pretended it would be the hugest success of the year. I can’t fight with Tintin. I can’t fight with some big, popular current comedy or some more easy movies. But the people who come into theaters, that’s the most important thing. When we are talking about the audience, we are talking about two kinds of audiences: The real audience is the person who is in the theater watching the movie. That’s the audience. And the other audience are the people in the street who potentially could come. But if they don’t, then they are not the audience. They are people. So what’s important for me is the audience — people who are in the theater. And so far, people who see the movie really enjoy it. For me, that’s important. I cannot force people to come. I know you have to make an effort to come see a black-and-white, silent, French movie with two unknown actors. I know you have to make an effort. But I can’t force people, and I can’t blame them if they decide not to come. What’s important to me is that people who come to see the movie, they enjoy it. What’s your favorite movie of this year? Or what have you seen that you really love? There are some. I really loved A Separation — the Iranian movie? I saw it in Paris. I think it’s a Hitchcockian drama, but so special and so accurate. Everything is so fantastic. The actors are fantastic. I was really impressed. I also loved Drive, I loved The Descendants. There are a lot of good movies. This year I didn’t have an opportunity to see a lot of them, because… You’ve been running around. Yeah. At least you’re running around at festivals, where conceivably, if you’re there long enough, you have a pretty good chance of seeing something good. I remember when I was at Cannes, I stayed three days, and it was three days of press. And when I was in Telluride, I saw Footnote, which is really good, and Descendants. But for other ones… Like, I had a chance to see Shame, but I’d have to leave the theater 20 minutes before the ending of the movie. So I said, “No way; I can see it later.” Toronto’s the same way; the schedule doesn’t always fit. Is that frustrating? Yeah, sure. Festivals are good for that: You see movies, and you meet people, and you meet the other directors. Usually you never meet. When you work, you meet D.P.’s and members of the crew, but they work with me. The director’s don’t. And I really love directors. I love to talk to them, to discuss. Having technically worked in Hollywood now, is returning your next step? Working in America, working on studio productions? Or do you want to just keep it small? I don’t have these kinds of geographic goals. I really love to work here, and I really loved to make this movie here, because this movie had to be done here. But I didn’t make it to come here and make another movie. It really depends what movie. I have some propositions here; some of them are interesting, some of them are not. It really depends on what movie. I don’t have a career plan. It’s a lot of investment for me to make a movie — a lot of time. You immerse yourself in something, and I have to feel more than comfortable. I have to feel like there’s a good movie at the end of the process. So it’s not the question of being in Hollywood or in France. It’s really a question of which movie are we talking about? The Artist opens today in NY and Los Angeles, with more locations to come in the weeks ahead. Read Stephanie Zacharek’s review here. Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitter.

George Clooney Named Witness in Silvio Berlusconi Trial

Ides of March director-star George Clooney continues to be named a witness in former Italian pm 's new sex and corruption trial.our editor recommendsSilvio Berlusconi Trial Restarts in MilanSilvio Berlusconi's Next Move: Salvage His Media EmpireMedia Mogul Steps Lower as Italy's Pm Clooney's ex-girlfriend, Dwts season 13 contestant Elisabetta Canalis, and soccer celebrity Cristiano Ronaldo were also one of the a lot more than 200 names recognized with a Milan court Wednesday for that situation, which alleges the media titan had sex by having an underage prostitute, reviews the Connected Press. PHOTOS: Stars Who've Performed Political figures The 75-year-old Mediaset honcho is accused to having to pay Karima el-Mahroug -- most widely known by her nickname "Ruby one's heart Stealer" -- for sex when she was 17. He's also billed with abuse of energy for attempting to help el-Mahroug get free from trouble when she was charged with shoplifting by calling police force and laying that they was the niece of then-Egyptian leader Mubarak. The abuse of energy charge is easily the most serious of these two charges against Berlusconi within this trial, transporting a maximum prison term of 12 years. Captured, Clooney stated he was "stupified" that need considering a witness within the situation, that has been postponed for several weeks. "It's very strange," Clooney stated based on an argument from his agent launched towards the Milan daily Corriere della Sera. "I've met Berlusconi only one time, as well as it was just to solicit his help for Darfur." Berlusconi walked lower as pm of Italia on November. 12 Related Subjects Elisabetta Canalis George Clooney Worldwide

Dancing with the Stars Episode Recap: Monday, Nov. 21, 2011

Dancing with the Stars' remaining three couples face off in the first part of the finals with two dances, including the all-important freestyle. Did J.R. recover from his ankle injury? Did Ricki maintain her momentum? Or did Rob surprise again?Here we go, guys! Tonight we get the first two of four dances: each couple's last unlearned dance and the freestyle. But the best news of all? It's a one-hour show! Yay!Ricki Lake and Derek Hough: cha-cha"Talk show, actress and host Ricki Lake," as Brooke, wearing her best Jessica McClintock, calls her is up first. Didn't know Ricki was that versatile. She's a talk show too, huh? Carrie Ann drops by rehearsals to tell Ricki to stop thinking about overweight Ricki and channel sexy Ricki. Sexy Ricki is out in full force, but this cha-cha is only, like, 90 percent there. It's technically sound, flirty and fun, and Ricki ishitting herfoot placement, but there's no sizzle. Plus, she's still in her own head about the routine. Maks and Kirstie like it! Len calls it action-packed. Bruno says it was a cha-cha at full steam, but thinks there were lapses in passes. Carrie Ann says she was living the dance and mumbles something about hands.Score: 27Rob Kardashian and Cheryl Burke: waltzRob is struggling with the waltz, so naturally Bruno comes in and tells him that it's all in the walk. As are most things. Dare I say Rob looks dapper? Maybe it's the baby pink tie. It's a sweet, graceful routine, and Rob's upper body and posture are on point. He gets a little off on the footwork during the fast sequences and they overdo it on the swooping arm motions, but it's a job well done when you consider how stiff and stomp-y he was in the first week with the Viennese waltz. A tuxedo-ed and non-smiley Kim gives him an unprompted standing O! Let's drink every time the camera's on her, OK? Bruno says Rob was glowing, but says he messed up on the crossovers. Carrie Ann calls him the male version of Cinderella. Len says he had more rise and fall than Pamela Anderson jogging. On the beach, right?Score: 27J.R. Martinez and Karina Smirnoff: cha-chaJ.R. got an X-ray last week on his ankle, which showed no swelling, so he can dance! Obvs. Len comes to rehearsals to basically grab and point at J.R.'s ass. They each start off with a brief solo before intertwining... and it's all kind of underwhelming. Is the ankle still bothering him? Because this is also terribly slow and off-pace. It's a decent performance, mostly because J.R. is still selling the character, but it's nothing outstanding or memorable, let alone finals-worthy. Carrie Ann says his musicality was off and wants him to watch his arms. Len calls him brave for dancing most of it solo, but says it wasn't that good. Bruno loves the mood, but concurs about the arms. J.R. tells Brooke that he missed a step at the beginning and wound up one step ahead.Score: 24FreestyleRicki Lake and Derek HoughRicki has qualms about being thrown around by Derek, but mostly doesn't want to be the one to ruin his perfect finals record. "Just shut your face," he tells her when she talks about to him. I think this is the most anger we've ever heard from him. It's a salsa-quickstep hybrid (weird?) and fittingly Ricki looks like she's in the middle of a black/white swan metamorphosis with that feathered skirt. There's a lot of twirling, spinning, dipping and shaking. Ricki looks like she's about to lose it five different times, but manages to keep up for the most part and lets Derek hides her flaws. I'd rank this the worst (and by "worst," I mean still pretty damn good) of Derek's freestyles, but it's still an entertaining and supremely difficult number that has be exhausted just watching it. Len says she lost it a bit during the quickstep, but loves it. Bruno says it was the most demanding dance since it combined two polar opposite types. Carrie Ann concurs with Bruno and hearts the lifts.Score: 27Total: 54Rob Kardashian and Cheryl BurkeCheryl wants to start off slow because Rob has excelled with the slower dances. So he starts off with a fedora and a trumpet. How roaring '20s. My only complaint about this whole look is Rob's oversized jacket that looks like it was made for The Penguin. Where's Carson when you need him? The routine is not in the typical energetic, fast-paced vein, which may hurt them if that's what some fans are looking for, but it's pretty snazzy and sophisticated. Rob is in full leading man mode and attacks the steps and lifts with confidence, thought it's kind of uneven at parts. Bruno loves the content and calls it brilliant. Carrie Ann reminds us that couples need to blow the judges away with the freestyle. "Consider me blown," she says. I'm gonna stay away from that one. Len loves it too. And Rob gets his first 30. Really, guys? It was good, but not perfect. Still, who would've guessed this two months ago? Kim, Khloe and Kourtney are jumping like little girls. Because of the 30. But mostly because the camera's on them again.Score: 30Total: 57J.R. Martinez and Karina SmirnoffThey're doing a salsa-inspired routine to honor his Latin roots. Two salsa-inspired freestyles?! What are the chances? Karina was to do some crazy neck-hooking move that J.R. wants to poo-poo because of Karina's past neck surgeries and the injuries he's seen on the show. During rehearsals, she freezes up and can't do it. What's gonna happen?! They do it! And it's all goes fine! OK, this is more hip-hip than salsa, which is just as well. This is an awesome comeback for J.R. It's dynamic funky, vivacious with crazy lifts and reminiscent of the eye-popping, Mirrorball-winning freestyles of Dancing lore. It gets kind of weird at the end when they prop themselves up and are more or less dancing on top of Maks aka Karina's ex-fiance, lest we forget. Awk-ward! And yet awesome! It also looks like they're doing an exercise video. Carrie Ann says those were the sickest lifts she's ever seen. Len loves Karina's body and J.R.'s talent. Bruno purrs after his animal physicality.Score: 30Total: 54So Rob and Cheryl top Night 1 with a 57, while Ricki and Derek, and J.R. and Karina are tied with a 54.What did you think? Did Rob deserve the top score? Did you ever think Rob would get a perfect 30, let alone top the night? How surprising is it that Derek got the lowest of the freestyle scores? Is J.R.'s freestyle comeback enough to overcome his dull cha-cha? How many Kim sightings did you spot? Who do you think will win? show less

John McCain's Daughter Makes MSNBC Debut as Paid out Contributor

Getty Because the political several weeks are starting to warm up, Meghan McCain -- daughter of erstwhile Republican presidential candidate John McCain, will probably be turning up on MSNBC more often -- to ensure that like a paid out contributor.our editor recommendsChelsea Clinton Joins NBC News as Special CorrespondentChelsea Clinton Joining NBC News Has Conservative Bloggers Speaking Prejudice, Political Motivations McCain makes her debut round the network (just like a staffer) Monday at noon up with Alex Wagner. PHOTOS: 10 Artists Dems and Republicans Prefer to Hate In the statement released by MSNBC on Monday, McCain mentioned: "It's a unique opportunity to discuss my perspective just like a Republican around the network I respect and possess built rapport with within the last couple of years.In . McCain is really a frequent guest on MSNBC since 2009. She written a memoir, Dirty Sexy Politics, about her time round the campaign trail along with her father. PHOTOS: Dems and Republicans' Favorite Movies McCain is a type of three kids of politicos round the NBC News payroll including Jenna Rose rose bush Hager and Chelsea Clinton, who grew to become part of the network the other day just like a correspondent for your newsmagazine Rock Center with Brain Williams where she'll lead for the feel-good "Developing a Difference" series. Clinton mentioned she'd donate her NBC News salary for the Clinton Foundation as well as the George Washington College Hospital.

Rotterdam chooses first three dimensional competish pic

The city -- The Rotterdam Film Festival revealed the very first records in the 2012 competition Monday, including its first three dimensional contender. Fest unspools The month of january 25 to Feb 5, with around 15 films set to compete. The three dimensional entry is "A Seafood" from South Korean helmer Park Hong-min, which preemed at October's Busan Intl. Film Fest. Referred to like a tragic absurdist tale, it concerns a professor going after his wife, that has elope to become shaman. "Egg and Stone" by China's Huang Ji will require its world bow in the festival. Tale concentrates on the plight of the 14-year-old girl playing relatives within the provinces while her parents seek operate in the town. Meanwhile Polish-American co-production "It Appears Pretty From the Distance," by artists Anka and Wilhelm Sasnal, explores the antisocial side of existence within the attractive Polish countryside. Pic is created by NY's Anton Kern Gallery. Selection is finished with "Go back to Burma" by local helmer Midi Z and "Southwest" from Brazil's Eduardo Nunes. Each one is debut features, inside a competition that concentrates on third and fourth films. Contact the range newsroom at news@variety.com

Endemol creditors reject Time Warner bid

ROME -- Time Warner's $1.4 billion bid for Endemol has been rejected by lenders of the Dutch unscripted TV giant, according to sources with direct knowledge of the matter. They confirmed a report in Italian daily La Repubblica on Friday saying indebted Endemol has written to Time Warner to turn down its bid, because Endemol creditors think the content company is worth more money. Endemol creditors, which include private equity funds Apollo Management, Centerbridge and Providence Equity Partners, have now extended their capital restructuring deadline to Dec. 13. Endemol on Monday declined comment on the Time Warner offer, but was upbeat about its overall situation. "The discussions with our lenders regarding our capital restructuring are continuing to make very good progress," said Endemol spokesman Charlie Gardner. In 2007 an investor group led by Endemol founder John de Mol, and including Italy's Mediaset and Goldman Sachs, paid some $3.5 billion to acquire Telefonica's controlling stake in the "Big Brother" producer. But they largely used leveraged loans that now weigh heavily on Endemol, whose other formats include "Deal or No Deal" and "Extreme Makeover: Home Edition." Endemol is now pushing ahead with talks to secure a debt for equity swap that would cut its current $3.7 billion debt to about $670 million. Mediaset and Italian equity fund Clessidra have reportedly offered to inject $268 million in Endemol to raise their current 33% stake to 51%, with lenders owning the remaining minority interests. The larger debt for equity swap now on the table would instead dilute Mediaset's stake to an estimated 10%-12% share. Contact Nick Vivarelli at nvivarelli@gmail.com

Distrib focuses on Latin American pics

Seven Latin American distributors have banded together to form pan-regional distrib LaRed (the Network), with the aim to provide more focused releases of Latino and international indie pics. "When European sales agents buy a Latino film, they mainly focus on European sales but more often than not, neglect to sell it in the Latin American region," says LaRed coordinator Erick Gonzalez, who is based in Chile. Founding partners are Mantarraya (Mexico), Interior 13 (Mexico), Cineplex (Colombia), Mutante Cine (Uruguay), Malaparte (Chile), LAT-E (Argentina) and Otro Cine (Costa Rica). Institutional support comes from the Media Program's Media Mundus, while talks are under way with Ibermedia and the Hubert Bals Fund for more coin. Chile's Valdivia Film Festival, where the idea of creating LaRed was first floated, will also provide support. "Having LaRed will make it less costly and more expedient for distributors to acquire Latino films," says Elba McAllister of Cineplex. "Buying Latino films through a European sales company has usually meant a longer, more tedious process." LaRed members will contribute to a common fund for joint acquisitions. "One of our core objectives is to release films that would otherwise have scant chances of being seen in our member countries. It's a difficult and complex task as exhibition spaces are shrinking as the number of films continue to rise," says Mutante Cine's Fernando Epstein. The entity is another attempt to form a distrib that will serve the entire region. Paltry TV support, widespread piracy and in some cases, the ongoing economic crisis that began after 9/11 forced other such efforts to shutter. The ones that exist are flourishing, though. The most ambitious pan-regional distrib to come out of Mexico, Nuvision, stopped buying film rights in the early 2000s when its parent company, live entertainment conglom CIE, decided to exit the film arena when stock prices plunged after the Al-Qaeda attacks on the U.S. NuVision founder-director Pedro Rodriguez relocated to Los Angeles and formed IDC Films, a joint venture with Summit Entertainment. "NuVision was not a (failed) project, it was the beginning of an idea that lived successfully, and I've now brought to full life in IDC," Rodriguez says. Led by the "Twilight" franchise, IDC releases Summit-owned and -acquired pics in 23 Latin American countries through its deals with 17 associated members. Another pan-regional distrib, Wyland Intl., comprising partners Telefilms, Sun Distribution and Diamond Films, has reaped box office gold in the region with "The King's Speech," "Midnight in Paris" and "Source Code." It also has an output deal with David Linde's Lava Bear Films, starting with "A Giant," starring Shia LaBeouf. Telefilms handles TV rights, while Sun Distribution acquires all film rights. Diamond Films manages releases in Argentina and Chile. The distribs all face the same issue: Homegrown pics just don't travel much within the region. "Films from Iran or Japan are more acceptable to Chilean audiences than films from Colombia or Mexico," says Gonzalez. Sun Distribution's Buenos Aires-based Diego Halabi agrees. "With a few exceptions like Mexico's 'Amores Perros' or Argentina's 'The Secret in Their Eyes,' few Latino films do well across Latin America," he says, adding that Sun and its partners are also planning to co-produce and distribute local films they think will perform beyond respective borders. "If the concept and format is good, it will travel well," he says. At stake is a lucrative marketplace. IDC has released more than 42 movies since 2005, and will have generated by year's end more than $370 million since 2006 at the Latin American box office since then, per Rodriguez. LaRed's most immediate concern is finding its first pic to launch. "Hopefully, we'll find it at Ventana Sur," says Gonzalez of the annual December film market in Buenos Aires. n Contact the Variety newsroom at news@variety.com

Anchor Bay takes 'Touchback'

Anchor Bay Films has acquired United States privileges to inspiring drama "Touchback," starring Kurt Russell, John Presley, Melanie Lynskey, Christine Lahti, Came Powell and Marc Blucas. Anchor Bay leader Bill Clark introduced the offer, that was discussed throughout the American Film Market, on Wednesday. "Touchback" is written and directed by Don Handfield and created by Freedom Films' John Presley, Kevin Matusow and Carissa Buffel. Hannibal Classics is handling foreign sales. Presley shows a battling player who bitterly miracles how his existence may have been different if he'd not obtained the winning touchdown within the Ohio Condition Senior High School Championship game years back -- and all of a sudden finds themself in time for you to a few days from the championship game. Deal was discussed by Kevin Kasha of Anchor Bay Films and Jay Cohen from Gersh LA. Contact Dork McNary at dork.mcnary@variety.com

Robbins, Brody join Chinese famine pic

Tim Robbins and Adrien Brody have became a member of the cast of director Feng Xiaogang's as-yet-untitled story from the deadly famine in central China in 1942 throughout the war against Japan. Reps for that thesps confirmed the castings Tuesday. Huayi Siblings, Feng's production partner, has established that no title continues to be looking for the pic, which is according to author Liu Zhenyun's novel "Recalling 1942." Feng introduced the project in April with intends to begin shooting this be seduced by a 2012 release. Zhenyun's novel particulars a persons crisis that developed consequently of the drought and also the government's distraction using the war against Japan's taking up armies. The storyline is occur central China's Henan province, south of Beijing, where Liu was raised. Liu authored "Mobile Phone," which Feng based his 2003 film. Feng is becoming China's most effective director with "Aftershock," "If You're the main one,Inch and "If You're the main one 2." Robbins was last observed in "Eco-friendly Lantern." Brody is within "Night time in Paris." Robbins is repped by UTA. Brody is repped by Paradigm. Contact Variety Staff at news@variety.com

New 'Haywire' Trailer: Michael Fassbender, Ewan McGregor and Antonio Banderas are No Match for Gina Carano

Michael Fassbender played a badass superhero in 'X-Men: First Class.' Too bad his powers didn't transfer over to his upcoming movie 'Haywire.' In the new trailer for the Steven Soderbergh-directed film, Fassbender's character, Paul, lures Malory Kane (played by MMA fighter Gina Carano), a government agent, into a hotel room in an effort to neutralize her. Bad idea. Unfortunately, things didn't go too smoothly for Fassbender while they were filming this scene, either. As the actor told EW, [Gina] is supposed to pick up a vase and it breaks away, and the stunt guy said, 'She's going to grab it and hit you on the side of the head. But the one thing that's important as she swings toward your head is you don't look at her. You turn your head away and take the hit.' I was like, 'Yeah, yeah, yeah, I got it' ... Of course, Gina picked up the vase and I looked right at it ... It was like a camera bulb had gone of. Fassbender ended up leaving with only a few bruises. 'Haywire' hits theaters January 20, 2012. Head over to EW to watch the trailer. [Photo: Relativity] Follow Moviefone on Twitter Like Moviefone on Facebook

Jersey Shores Ronnie Blames Distance For Split With Sammi

First Published: November 10, 2011 4:33 PM EST Credit: Access Hollywood Caption Jersey Shores Ronnie Ortiz-Magro stops by Access Hollywood Live on November 10, 2011LOS ANGELES, Calif. -- Jersey Shores resident couple Ronnie Ortiz-Magro and Sammi Giancola appear to work best when theyre sharing a room and not a commute. Ronnie stopped by Access Hollywood Live on Thursday and revealed that distance has driven a wedge between him and his ladylove. Right now were not together, he told Billy Bush and guest co-host Holly Robinson Peete. The reality star, who now also wrestles on TNA Impact Wrestling, explained that their busy schedules have been tough on their love life. We want to focus on our careers, he continued. And its not really fair to either of us to be in a relationship where youre going to see each other once a week. Despite their romantic break with a new season of Shore in the works who knows will blossom between these two Ronnie stressed that their relationship was completely legit. What me and Sam had was real. None of it was staged. We really care about each other and love each other, Ronnie said. TNA Impact Wresting airs Thursdays at 9 PM on Spike TV. Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Eddie Murphy Oscar Substitutes: 10 Names the Oscars Should Think About

If you have checked Twitter within the last two hrs, you have often seen everybody from Ron Swanson to Bravo's Andy Cohen tossed out as you possibly can host substitutes for Eddie Murphy in the 84th annual Oscars. (Keep in mind that Eddie Murphy comeback? Yeah, that's super over now. Help you for 'Dr. Dolittle 5,' Eddie!) Funny stuff, Twitter! But who'll really replace Murphy? Ahead, Moviefone ranks 10 possible options, from least prone to probably. CLICK PHOTO To Produce GALLERY 10 Possible Oscar-Host Substitutes Ough GervaisRobert Downey Junior.The MuppetsMeryl StreepTina FeySteve Martin and Alec BaldwinNo OneNeil Patrick HarrisHugh JackmanBilly Very See All Moviefone Art galleries » EARLIER: Eddie Murphy quits Academy awards EARLIER: Robin Williams responds to Eddie Murphy's Academy awards departure [Top Photo: AFP/Getty] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

EXCLUSIVE! John Grazer Telling Hollywood He'll Produce Oscars & Trying To Find Host

John Grazer Will A Part Of To Produce 84th Academy awards Brett Ratner Out As Oscar Producer WEDNESDAY 3:50 PM, 3RD UPDATE: The Academy Of Movies & Arts Sciences just handled to obtain official. 3:30 PM, second UPDATE: Imagine Entertainment is verifying that John Grazer can make the 84th Academy awards with Don Mischer. Still no official AMPAS announcement, though. There’s more news relating to this fast-breaking story: Round the Academy Of Motion Picture Arts & Sciences wanted thatEddie Murphy would reconsider his exit as host, affiliates tell me that John Grazer has handled to maneuver about this mid-day.”We aren't coming back to him. No chance,” I’m told. 2 PM, UPDATE from Nikki Finke: I have just discovered that John Grazer was offered and contains proven to produce the 84th Academy awards. Nothing remains introduced yet, but Grazer is telling Hollywood he’s dedicated to the gig. The Academy Of Motion Picture Arts And Sciences owes John large-time for walking to the breach left when Brett Ratner left because of the scandal the director had created around themselves. Immediately, Grazer began calling on an outing trying to find the Oscar host (see HAMMOND: Eddies Exit Throws Oscars Into Further Chaos Who Should Host Now?) and speed-known as the most effective agencies checking availabilities for big talent. Nevertheless the Academy still wants Eddie Murphy to host, and Grazer is designated with first trying to convince the actor to make it happen. Grazer’s Imagine Entertainment produced Tower Heist, which Ratner directed and co-stars Murphy. If anybody will get Eddie in, it’s John. For Grazer to battle the Oscarsdemonstrates a dedication for the movie community that we hope the Academy won’t soon forget.Grazer’s title frequently appears for your Irving G Thalberg Memorial Award, most likely probably the most coveted Oscar recognition for anyone in Hollywood, and almost received itfor the 76th annual Oscars.Somaybe sooner or later it must be Grazersturn for your Thalberg.I believe that make it for him next season. 11 AM, Mike Fleming reviews: At this time around, the Academy awards continue being out of whack, but a title that's making the models is John Grazer just like a potential alternative for Brett Ratner. That is unconfirmed and may be preferable when Eddie Murphy used to be the host. Grazer partners in Imagine Entertainment with Ron Howard, which he just produced Tower Heist, the Ratner-directed film that stars Murphy. Developing.

'X-Factor's' Rachel Crow Survived Drug Addicted Birth Mother and Abusive Home, Adoptive Mom Reveals

To look at the bubbly and expressiveRachel Crow on Fox's The X Factor now, one would never assume that she survived some intense early childhood trauma in an abusive home with a birth mother who was addicted to crack cocaine.our editor recommends'X Factor's' LeRoy Bell Can Laugh At His Lip Syncing Foible: 'It's Like a Spoof''X Factor': Vocal Sweetening? Lip Syncing? The Lowdown on the Shows Sound'X Factor': With 10 Million Votes Cast, How Does it Compare to 'American Idol'? (Analysis) PHOTOS: 'X Factor' Top 17 Finalists: Get to Know the Artists "In situations like that, it is a little more dangerous, so they keep everything sealed," Rachel's adoptive mother, Barbara Crow, tells the NY Post (and a show insider confirms the story to The Hollywood Reporter), about not knowing the identities of Rachel's birth parents. "It is not like entering into a typical private adoption. This is where parental rights were terminated, and the child suffered a lot of abuse," says Barbara. "I would just like 10 minutes with them." Rachel came to live with Barbara, a former hospital counselor, and her husband, Kelly, who owns an excavation business in Boulder, as a foster child at six months old and the couple adopted her a year later. Barbara says Rachel's rough start hasn't gotten in the way of her becoming a well adjusted child. PHOTOS: Behind the Scenes: THR's 'X Factor' Cover Shoot "She is totally unaffected by it," Barbara says. "She never looks at [her past] in a sad way. She looks at it as that is what made her the person she is." Rachel, 13, tells the newspaper that she has no desire to meet her birth parents, saying "I have two amazing parents already." Related Topics Fox Broadcasting Corporation The X Factor