Perry, Lionsgate visit 'Marriage Counselor'

PerryTyler Perry is within pre-prorduction on the feature version of his play "The Wedding Counselor" through his cope with Lionsgate, marking the thirteenth feature project between your multihypenate and studio.Production will start March. 25 with Perry and partners Ozzie Arau and Paul Hall creating. No cast continues to be attached."The Wedding Counselor," the tenth abide by Perry, opened up in 2008. Story focuses on a husband and wife -- a cpa and the wife, an Ivy League-educated counselor who gives marital advice but finds it hard to deal with difficulties with her very own marriage. In March, Lionsgate extended its first-look pact with Perry for film and homevid not less than 2 yrs, ongoing a partnership that dates to 2005. The offer requires Perry to provide a minimum of two more "Madea" movies, among other possible photos.Perry's 11 films for Lionsgate in the last six years have made nearly $600 million in the United States box office, and the Dvd disks have offered a lot more than 40 million models. Their twelfth project, romantic drama "Good Deeds" opens February. 24 and informs the storyline of the effective, soon-to-be-married businessman who falls deeply in love with a lower-on-her-luck single mom.The newest Perry film, "Madea's Large Happy Family," opened up on April 22 and required in $53 million.Perry's debut play, "I Understand I have Been Transformed" was carried out first in 1992. He bowed the Madea character in 2000's play "I'm Able To Do Bad simply by Myself," resulting in 2005's "Diary of the Mad Black Lady."Perry adopted with "Madea's Family Reunion," "Daddy's Young Girls," "Why Did I Got Married?," "Satisfy the Browns," "The Household That Preys," "I'm Able To Do Bad simply by Myself," "Why Did I Got Married Too?" and "For Colored Women."Perry also produces the television series "Tyler Perry's House of Payne" and "Satisfy The Browns" for The best spinner's and first-run distribution. Both skeins are distribbed by Lionsgate's Debmar-Mercury distribution arm.Perry's repped by WME.Lionsgate is delivering Perry's romantic drama "Good Deeds" on February. 24. Perry shows a soon-to-be-married businessman who starts to question his foreseeable existence when he offers assistance to -- and finally falls deeply in love with -- a lower-on-her-luck single mom battling to pay the bills. Contact Dork McNary at dork.mcnary@variety.com

News Corp Scandal: Scotland Yard Goes After Reporters Who Embarrassed Them

Scotland Yard is demanding that reporters in the Protector disclose the private sources that enabledthe papertobreakthe News Corp phone hacking scandal story. Law enforcement are stating the United kingdom’s Official Secrets Act –normally used against spies– inside a legal bid to find the names. It had been theGuardian’s thought in This summer thatScotlandYard had poorly handled its investigationof this news around the globe for hacking the telephone of the missing killed girl that set the scandal moving. The fallout from might accusations the police were affected byNews Corp authorities led to the ouster of top Scotland Yard officials. Additionally, it triggered Rupert Murdoch’s News Corp to shut this news of theWorld, abandon itsBSkyB takeover bid and undergo the currentseries of legal and government queries. The Protector’s editor Alan Rusbridger stated”We shall resist this remarkable demand towards the utmost.” Former Work minister Tom Watsonsaid: “It is definitely an crazy abuse and completely unacceptable that, getting unsuccessful to research serious wrongdoing in the News around the globe for over a decade, law enforcement should certainly be attempting to move from the Protector.”

Toronto: Magnolia Acquires The Hunter

Toronto, ON September 16, 2011 The Wagner/Cuban Companys Magnolia Pictures introduced today they have acquired US rights for the HUNTER after its world premiere within the Toronto Film Festival. Directed by Daniel Nettheim and put together by Alice Addison, good novel by author/filmmaker Julia Leigh (Sleeping Beauty), the film stars Willem Dafoe, Mike Neill, and Frances OConnor. Vincent Sheehan (Animal Kingdom) of Porchlight Films produced. In this superbly shot mental drama, Defoe plays a mercenary hired having a bio-tech firm to locate an infrequent, possibly extinct animal referred to as Tasmanian Tiger inside the remote and untouched backwoods of Tasmania. Magnolia is arranging a 2012 theatrical release for your HUNTER through its Ultra VOD program. The film might be the companys third acquisition from Toronto this year, carrying out a purchases of Michael Dowses Goon and Bobcat Goldthwaits God Bless America due to its genre arm, Magnet. I had been amazed with this particular frightening, beautiful, fantastically made film, mentioned Magnolia Leader Eamonn Bowles. Willem Dafoe gives his best performance inside a very long time and hes matched up up car ensemble cast. The sale was talked about for Magnolia by SVP of Purchases Dori Begley, Director of Purchases Peter Van Steemburg and Mind of Legal and Business Matters Chris Matson. UTA Independent Film Group and eOne talked about regarding the filmmakers. eOne is handling world-side sales outdoors Australia.

Gun Van Sant on Restless, Test-Screening Nightmares and Why He Went Out For Breaking Dawn

After bookending the summer with prestigious appearances at festivals in Cannes and Toronto, acclaimed auteur Gus Van Sant brings his latest film, Restless, to theaters this weekend in limited release. The outcome of an unusual creative collaboration including co-producers Ron Howard and his daughter Bryce Dallas Howard, her former NY University colleague and screenwriter Jason Lew, and the visionary for hire Van Sant, Restless stars Mia Wasikowska as a terminally ill teenager who sparks up a star-crossed love affair with a gloomy, funeral-crashing, imaginary friend-confiding orphan (played by Henry Hopper). The two-time Oscar-nominated director sat down with Movieline this week to discuss Restless’s festival reception, the one-size-fits-all perils of test screenings, the 20th anniversary of his classic My Own Private Idaho, and what he was thinking when throwing his name in the hat to direct The Twilight Saga: Breaking Dawn. You were up in Toronto with this, and you met a NY audience the other night. What’s your sense of how viewers are receiving Restless? It seems really positive. I’m pretty happy. Do you actually like this part of the process? The exchange with the audience? No, I don’t. But I know they do, so that’s nice. Do test screenings or what audiences say in general ever influence you? Yeah. I mean, I totally take advice for the audience, but sometimes the test is not just for advice. It might also be for approval. The tests have different ways you can count up the scores. It asks you, “Do you like the lead character? Who’s your favorite character? Would you tell a friend about it? Would you rate it excellent, good, fair, poor?” There’s a way to count those up so you get a score, but it’s a score based on these arbitrary questions; the score is different than the other part of the test, like, “Are there any scenes that were too slow? Are there any scenes that are too fast? How did you like the ending? Did it begin too slow?” Questions about pacing, communication and so forth. Those can be one thing. But there can also be this concern about the overall adding of the score, because then it becomes more like a grade on a paper in high school or college ow wherever. So you want it to be A+. And a 90 is an A-, a 95 is an A, a 99 is an A+. And an 85 is a B, and a 75 is a C. So you want it to be 90. Do you remember the highest grade you ever got? Yeah. I’ve gotten in the 90s like… three times? What’s the lowest you ever got? 33. 33? No, wait. 32. On what? To Die For was 32. You got a 32 on To Die For? And that’s the reason I don’t necessarily look at the score. You can interpret that wrong. The people who are interested in the score, then that’s the score. To them, it’s like high school: “If it’s 32, it’s failing. It’s a failure. That means the movie’s gonna be a failure.” There thinking of it like a grade in college. Their bosses are thinking of it like a grade in college. Their shareholders are thinking of it like a grade in college. And what they do is based on their interpretation of that number. But you can get a score like that if you say, “Here’s a really funny Robin Williams movie. Come to it and laugh!” and then you show them a serious downer Robin Williams movie like One-Hour Photo. They give you a 32 and you say, “What’s wrong?” Like it must be a failure, you know? You didn’t test it right. You can screw the test up. And in the particular case of some tests, it can be that you’re trying to change the profile of the movie. I often make dark comedies. [To Die For] is a dark comedy. The dark comedies tend to be in a non-releasable area. There can be romantic comedies. There can be dramas. But there’s no “dark comedy” inbox for the advertising. So they might test it as a romantic comedy when it’s actually a dark comedy, and as a result you’ll get a low score. You’re saying, “Bring your date! You’re going to get laid on this one!” And then Nicole [Kidman] kills her husband, and the score is D or F because I’m not going to get laid now. And you wonder, “Gee, what went wrong?” And it’s all because you’re trying to make it into something it’s not. Are you ever enlightened at all about your past films by talking about them? Either with fans, or in interviews, or wherever? [Long pause] Yeah, I guess. James Franco is recutting My Own Private Idaho, so I learned something new about that one because I’ve seen the old footage. But I don’t really by talking about them. I like hearing people talk about them; maybe you learn something new about people’s reactions to them. But I don’t necessarily learn about the film. My Own Private Idaho turns 20 this year. What are your reflections two decades later — particularly in light of James Franco’s work revising it? That was the one film — well, in that era, before 2000 — it was the one film that was sort of my own. Some of them, I adapted other people’s books. That was the one I kind of cobbled together with different elements. There was a little bit of Shakespeare in it. It was like this collaged story. So there’s that aspect I like to remember. Do you have a personal relationship with your films over time? Does your impression of them or their memories ever change? No. I mean, they exist as films that other people mention, but there’s no particular relationship.

X-Men: First Class Watch Online