Q&A with Oren Moverman

MovermanOren Moverman's collaboration with Woodsy Harrelson gained the thesp a supporting actor Oscar nom for 2008's "The Messenger" along with a Spirit nom for "Rampart." Moverman lately spoken with Variety's Christy Grosz about how exactly he makes use of the editing room to assist shape his films, and the interest in tales about conflicted males in uniform.You did not come onto "Rampart" using the aim of pointing it. Did that improve your method of writing the script whatsoever when you dove in it?Indeed, a great deal transformed. They'd a script that James (Ellroy) had already written. It had been type of brilliant. It had been just huge coupled with lots of very complicated things. It had been either unfilmable or otherwise fitting in to the budget of the items would be a completely independent movie. I had been introduced in to have it in check and streamline it. After I reached enjoy engaging in the James Ellroy voice, I suppose I acquired hooked. After I posted it, I had been very happy with myself because I figured I'd written something similar to James Ellroy or something like that where I photoshopped his voice. I figured, "Wow, I suppose they bought in it.Inch Plus they stated, "Perhaps you should direct it." Once that process began, it had been really about determining how you can translate what's around the page to the screen. That's an entire other process. Will it allow it to be simpler to possess anyone who has been nominated to have an Academy Award connected to the project when you are to discover the financing? (laughs) Well, it does not allow it to be harder. Obviously (financing) is difficult for everybody regardless of what you have carried out. The truth that we're able to cast the film around Woodsy and also have many people who are curious about dealing with Woodsy seriously board, really assisted secure financing.Both "The Messenger" and "Rampart" have worked with males whose face in society is really a uniform. Is the fact that a coincidence or perhaps is there something in regards to a career in uniform that intrigues you?Law enforcement and also the military are extremely obvious metaphors about maleness. I never planned on pointing "Rampart" and that i really never planned on pointing "The Messenger," so for the reason that respect I'd say maybe it's a coincidence. But will we really have confidence in coincidence? I am unsure. It certainly suits what interests me. I originate from Israel, and so i spent a couple of years within the military, and I've got a large amount of buddies who have been within the military. It certainly intrigued me to determine how that one atmosphere affects male behavior, both negative and positive.Are you able to let me know a bit about how exactly your process works? It has been stated that you want to obtain the heart from the film within the editing room.The operation is very focused and incredibly open, however, you know you will find lots of contradictions happening simultaneously you don't rehearse. I love to prepare using the stars whenever possible, assembling their back tales and becoming deep in to the figures. However the expectation is they bring the characters' world in to the scene to ensure that we shoot without practicing and extremely discover the scene once we go. It's not really that i'm locating the movie within the editing room. It's that people have found the film together through the entire process. Lots of occasions, it is dependant on very practical things, like which locations we are able to get. There's a scene within the movie that can take places inside a pool while it is raining, and initially which was scripted like a scene in the door of the home. It had been just Robin (Wright) coming and finding Woodsy outdoors her door while it is raining, which was the scene. But we lost that location a few days before i was designed to shoot it. We went next door and located this house which was a lot better -- the moment I saw the pool, I stated, "Oh, OK, that's the scene." I must be among individuals author-company directors who states it had been all around the page it had been an ideal vision performed onscreen. However which i like the entire process of finding things once we go and dealing them in organically. It's on every level: not only the script, not only the acting, but clearly starting the editing room and shaping and toning it to get the best version. Whenever we shot the scene where Bree Larson, who plays Woody's older daughter, sees him outdoors the home searching in, I recall embracing the DP Bobby Bukowski and saying, "I believe that's the finish from the movie." It had not been said to be the finish from the movie within the script. However when you take presctiption set, if you're available to it, several things become obvious when it comes to where you stand going. You need to shoot whenever possible and obtain because the script while you intend to get, then sit within the convenience of the editing room and determine whether your instincts are right or otherwise.Do you consider you'd have the ability to obtain that degree of versatility should you be focusing on a larger studio movie?I am unsure that the studio could be comfortable employed in by doing this. It's just one way of working, it's not the only method of working which is only some of the way I see myself working. With "The Messenger" and "Rampart," I'd the privilege of lots of freedom and lots of trust along the way because those who were financing were available to that. I fully anticipate finding those who are not available to that. It turns into a whole other exercise, but that's just like exciting in my experience.This is your next collaboration with Woodsy Harrelson and Ben Promote. The things that work very well for you personally in working together with each of them?I am not quite sure. The entire process of making "The Messenger" introduced us really near to one another, and that we enjoy the entire process of cooperating. At this time, things are kind of confused -- the private and also the professional -- and that we would like to keep playing together. Contact Christy Grosz at christy.grosz@variety.com

Former The The American Idol Show Show Finalist Danny Gokey Is Engaged

First Launched: December 27, 2011 1:10 PM EST Credit: Getty Images La, Calif. -- Caption Danny Gokey stages in Nashville for your CMAs, November. 11, 2009Three years following a tragic passing of his wife, Sophia, Danny Gokey finds love again. The Amercan Idol Season 8 finalist is engaged to his girlfriend, Leyicet Peralta. Gokey introduced the happy news online for your charitable organization within the late wifes memory, Sophias Heart, adding the pair is arranging a wedding for late The month of the month of january 2012. Dannys passion while focusing throughout the final three years remains his new bands career and beginning Sophias Heart Foundation, mentioned a disagreement round the charitys website. He's thrilled to own found Leyicet who also shares the romance and want to assist children and families short of funds. The happy couple is requesting that any wedding gifts be gave in the kind of donations to Sophias Heart. We are grateful for numerous benefits God has provided us. It's our need to visit destitute children and families be saved together and lifted back around the foot with the help of Sophias Heart. We love to and appreciate everyone. The 31year-old singer won the hearts of numerous Us citizens through the The American Idol Show Show due to his sensitive charm and touching story. Then 28, Danny had lost his wife just four days right before who audition for your show throughout her surgery to fix an inherited heart defect. In my opinion she 's for my success, he told Access Hollywood of his late wife within a February 2009 interview. You are feeling the sum which team you postpone with and Ive been along with her for 11 many she assisted me who I am. She supported me when nobody supported me, he ongoing. Im grateful on her behalf greatly. Danny mentioned he wanted his story is required individuals that result in apparently hopeless situations. When people have a look at me they find hope, the Milwaukee native mentioned in those days. Dreams put a completely new passion within your existence to reside in again. If only to possess that message to individuals that they may live again no matter how bad the tragedy. You'll be able to dream again and you'll see people dreams satisfied, but at this time around, it seems like its being were living within me which i really hope they realize that. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Matt Roush's Top (And Much More) of 2011

Michelle Dockery and Serta Stevens 1. HOMELAND The most effective new series of year is Showtime's twisty nail-biter from the mental thriller, an psychologically intense cat-and-mouse game between two damaged souls: Damian Lewis as Nicholas Brody, a Marine Bang who have been switched by terrorists throughout eight years in Iraqi captivity, and Claire Danes as Barbara Mathison, the unstable CIA analyst who breaks all the rules to acquire under his skin - and often beneath the sheets. (Getting new meaning to undercover agent). The heavens are as electrifying since the storytelling in this particular taut tale of homeland insecurity, which features a marvelously restrained Mandy Patinkin as Carrie's melancholy mentor together with a revelatory Morena Baccarin as Brody's naturally conflicted wife. Homeland arises from the veteran producers of 24, who've lost no knack for sustained suspense, but during this more realistic framework are actually capable of concoct a thoughtful and gripping meditation round the human toll from fighting against terror. 2. DOWNTON ABBEY A whole delight. PBS' sprawling, Emmy-winning Masterpiece miniseries, with echoes of Jane Austen and Upstairs Downstairs within the wittily sudsy panache, is positioned around the grand but embattled British estate inside the years before WWI, with romantic and financial intrigues annoying the well-born and servant class alike. First among equals inside the brilliant ensemble: Maggie Cruz since the constantly indignant Countess Dowager, presented to hilariously withering pronouncements like, "No Englishman would imagine dying in someone else's house." The concept! Want more Matt Roush? Subscribe to TV Guide Magazine now! 3. BREAKING BAD Not missing a beat within the excruciatingly suspenseful fourth season, AMC's dark fable of violent corruption begins the desperate Wally White-colored (Bryan Cranston, deepening the darkness from the crazy anti-hero) in the icy kingpin Gus Kring (Giancarlo Esposito in the masterful performance of understated menace) inside an unpredictable season-extended fight of wills. Following a cunningly plotted and literally explosive season climax, Wally states "I won" to his morally compromised wife Skyler (Anna Gunn). Yes, he did, but at what cost? 4. COMMUNITY-versus-The Big BANG THEORY Airing opposite each other all climates and seasons on Thursdays were two fabulous extremes round the spectrum of comedy miracle. NBC's low-rated jewel, the epitome of cult comedy, the experimental and existential - and greatly entertaining - "fan favorite" Community defies genre categorization (a Glee holiday parody is yet another takeoff on Invasion in the Body Snatchers) while dealing with existence an ensemble of indelible misfits. And ruling the time-frame, The Big Bang Theory, CBS' stomach buster from the monster sitcom hit, has only intensified its nerdy genius since beefing within the roles in the ladies throughout these dysfunctional brainiacs' lives, with Mayim Bialik's dour Amy and Melissa Rauch's perky Bernadette keeping Kaley Cuoco's Cent from being the oddest girl out. 5. Wager On THRONES Cinemax effectively brings the epic fantasy to TV with dynamic impact in this particular adult, red-colored-colored-blooded and non-stop brutal saga according to George R.R. Martin's legendary page-turners. Harsh tidings befall good people (including Sean Bean's noble Ned Stark) in the medieval mash-from dynastic mayhem using the perfect volume of supernatural menace. 6. JUSTIFIED Inside the sensational second season of FX's tangy, twangy crime drama, the lethally charming U.S. Marshal Raylan Givens (Timothy Olyphant) meets his match - in Emmy champion Margo Martindale's monstrously callous Kentucky mountain matriarch Magazines Bennett. Along with her deadly Apple Cake moonshine always at arm's achieve, she presides around the twisted multi-family feud for control of Harlan County. If possibly her bumbling offspring had inherited her steel. Justified goes lower while using kick of combined whiskey. 7. The Middle & MODERN FAMILY The have-not Hecks of Indiana as well as the well-off West Coast Pritchett/Dunphy clan have little to keep, except being uncommonly funny. ABC's underappreciated The Middle nails the raucous comic anxiety of overcome parents (the award-worthy Patricia Heaton and Neil Flynn) in addition to their underachieving square-peg kids: lazy Axl, Poor Sue and oddball Brick. If this involves cultural relevance, The Middle may be TV's most important current comedy. Meanwhile, the acclaimed Modern Family is constantly spearhead TV's comedy renaissance with sophisticated farce that anybody with relatives can interact with. 8. FRINGE Living round the side from the television schedule and ratings, Fox's sci-fi/fantasy mind-blower just grows within the mystical complexity. As Peter Bishop plays look-a-boo between warring galaxies, we're treated to cautionary Frankenstein parables in the perils of playing God. An even more than worthy successor for the X-Files. 9. The Truly Amazing WIFE Once Alicia (Emmy champion Julianna Margulies) recognized her bad side, in the tumultuous secret liaison along with her boss Will (Josh Charles), network TV's most compelling drama may also be its steamiest, cunningly mixing the non-public getting a significantly written legal procedural that's never under stimulating. 10. NEW GIRL Four's company, and great company only at that. In Fox's endearingly zany new comedy, a free of charge-spirited pixie (Zooey Deschanel in the career-identifying test in the how-much-is-too-cute threshold) moves in to a guy cave with three males, including Max Greenfield since the hilariously smarmy Schmidt. Their bro-code of conduct will not be the identical using this sweet, silly and desperate interloper inside their midst. She's a hoot, and so's the show. Beneath the heading of honorable mention, I'd have loved to include DirectTV/NBC's Friday Evening Lights and FX's Save Me available for final seasons, however i had been entertaining their finales within the same issue's "Cheers & Jeers" package, so recognition ended. Searching back, I am sorry I didn't find room for FX's small but mighty, and darkly funny, Louie. Under most enhanced, and enhancing constantly, Parks and Entertainment works Community (happening undeserved hiatus) as NBC's best comedy. Damages loved another taut, suspenseful season on DirecTV. What's TV's best American horror story? Much less overrated Foreign exchange monstrosity, but AMC's imperfect but perfectly harrowing The Walking Dead. And my finest surprise since fall, because the pilot didn't blow me away, might be the guilty pleasure of ABC's Revenge, especially since the evil Tyler switched as much as spread his malice inside the Hamptons. He makes Emily appear just like a novice. If this involves the year's finest disappointments, that list would include these American Horror Story (which, aside from the fabulous Jessica Lange, can be as inept and indulgent since it is sickeningly ugly), HBO's turgid Mildred Pierce miniseries, the woeful Oscar-evening hosting of James Franco and Hathaway As Catwoman, Starz' misguidedly Americanized Torchwood: Miracle Day, ABC's shoulda-been-more-fun Pan Am, AMC's shoulda-been-more-original Hell on Wheels, and ABC's shoulda-never-broadcast Charlie's Angels reboot. You'll find more (many fortunately forgotten), why put on unhealthy? Here's to have an better yet 2012 in TV. Happy year! Subscribe to TV Guide Magazine now!

Alexander Payne Prefers Actors Who Can Communicate

Alexander Payne Prefers Actors Who Can Communicate By Jenelle Riley December 14, 2011 Photo by Carolyn Cole/Los Angeles Times/Contour by Getty Images Alexander Payne is the kind of filmmaker his peers can't help envying. All five of his feature films have been successful, commercially and critically. More important, they were made on his terms, products of an offbeat and uncompromising vision. He can find the heart in any situation, be it controversial (think of the glue-sniffing pregnant woman unwittingly caught in an abortion debate in "Citizen Ruth") or ordinary (the meandering road trip of "About Schmidt"). And he has a way of making audiences invest in the average, such as the life of the failed authorwine connoisseur of his Oscar-winning "Sideways." He does so with pathos, humor, and an eye for everyday absurdities; it's not uncommon to find two people who have seen the same film by Payne and learn one laughed, while the other cried, throughout.His latest film, "The Descendants," tells the story of Matt King (George Clooney), a land baron in Hawaii who also is a distant descendant of King Kamehameha. Matt finds himself tasked with raising his two daughters (Shailene Woodley and Amara Miller) after his wife has a boating accident that places her in an irreversible coma. The film is full of complex and fascinating people, from his wife's angry father (Robert Forster) to her secret lover (Matthew Lillard) to his kind but clueless wife (Judy Greer). Even characters with only a few lines create fully realized individuals, thanks to the writing by Payne, Jim Rash, and Nat Faxon. And somehow Payne, a nice Midwestern boy from Omaha, Neb., understands the culture and lifestyle of Hawaii well enough to make the state its own character onscreen. There's a reason actors line up to work with Payne, who has gotten career-making performances from greats such as Reese Witherspoon ("Election") and Paul Giamatti ("Sideways"). As Lillard told Back Stage, "To speak to the talent of Alexander Payne real quick: This is a movie about a guy, his wife is dying, he's left with two kids, and [he's dealing with] indigenous land rights in Hawaii. There's not a studio in the world that would make that, except for Fox Searchlight. And Alexander Payne made it so that it's funny and touching."Back Stage: All your films have been such critical successes; do you feel the pressure to continue that winning streak? Alexander Payne: The pressure I have is internal, to make what I think is a good film. The person whose opinion I'm most interested in is my own, in a way. I'm at once humble enough and pretentious enough to say that I'm looking forward to making something really good in the future. These are fine little films that I feel I'm still cutting my teeth on and learning how to make a film and what a film is. I'm 50 now, and I hope this decade I can try and make one really good one.Back Stage: How do you alleviate that pressure for yourself? Payne: I'm always going to have that pressure in my life, because I want all my films to be good. But I want to work with the freedom that I could also be making a failure, as well. I used to be friends with an old Czech film director, and when I said goodbye to him as I was going off to make "Citizen Ruth," he said, "Oh, and one more thing." And I turned at the door, and he said, "Make a failure." Which means: Be free. Be free to just make what comes out; don't think about if it's good or bad; just go. Back Stage: Were there different stakes on this film, coming off an Oscar-winning picture? Payne: Actually, the pressure I felt in this one was about making a film in Hawaiiwhich is a very unique, complex, sometimes intimidating culture that has a very strong sense of "this is our culture, you're from outside, who is this mainlander coming out here to tell our story." All those traps you can fall into out there, I was very aware of that. And I knew that I wasn't telling a story about Hawaii but about this one little corner, this self-styled aristocracy. Still, whatever's happening in Hawaii in the background had to be right. The rhythms had to be right; it's not just the right locations and costumes. I'm reading some of these reviews now, and they say, "Oh, Payne has a certain languorous rhythm." I would say it's not me. That's Hawaii, coming through the film. Things just kind of slide this way and that, a little bit. This is all a long-winded way of saying I did feel internal pressure, within me, to get it right. Back Stage: Obviously you had the Kaui Hart Hemmings book as a source, but how did you get to know the culture so well? Payne: I read a lot of history, talked to a lot of peopleI was the frequent victim of the coconut wireless. On the other hand, I became friends with Gavan Daws, who wrote that book "Shoal of Time," which is still the best single-volume historical survey of Hawaii. He's an Aussie who's been there since '58. He knows more about the history of Hawaii than any other single living human. And even he said, "I've been there for 50 years, and it's more of a mystery than ever to me." So I can't purport to have mastered anything; I just had to get enough right so that the film rang true. Another thing I was proud of was the music in the film. I made the decision to use 100 percent preexisting Hawaiian music. Back Stage: You originally met with George Clooney when you were casting "Sideways"he was interested in the role that ultimately went to Thomas Haden Church. Is that where you first started thinking of him for "The Descendants"? Payne: In retrospect, yes. But when I was making "Sideways," I had no idea that "The Descendants" was coming my way. But it did spark in me an interest to work with Clooney. I really dig him as an actor and a starhe's so appealing and so interesting in what he does. Look at the range he's got, from "O Brother, Where Art Thou?"which is an extreme comic partto his deadly sobriety in "Michael Clayton," and his compelling charm in the "Ocean's" movies. He's always good; you always look at him. People tell me, "A half an hour into the film, I'm able to forget it's Clooney. He seems so Everymanish." But still, you look at him, as opposed to other people in the frame.Back Stage: Did you have him in mind when you were writing the script? Payne: Yeah, I did. Back Stage: I've been told that's dangerous to do, but I guess there aren't many actors you can't get. Does anyone say no to you? Payne: Early on, on "Citizen Ruth," I had some noes. I don't think I've had a no since then. Back Stage: It seems every actor wants to work with you Payne: Oh good, that means they can take less money and I can keep my budgets low, which I need to do. [Laughs.] Back Stage: You've said that you like actors who can act "fast" can you elaborate on that? Payne: A movie needs to be zippy. Kurosawa used to say of Mifune: "He can express in three gestures what it takes other actors seven." Film is a constant search for economy, so you want actors to act quickly.Back Stage: So you don't necessarily mean talking fast, just communicating things in a short amount of time? Payne: Yes. I am impressed by how quickly and effectively they can communicate what needs to be communicated.Back Stage: Matthew Lillard said that when he went into his audition, he was surrounded by muscular pretty boys. Were you originally looking for a different type for his role? Payne: I didn't know what I was looking for. Come one, come all.Back Stage: So you really are open to anything in some instances? Payne: Absolutely. That's the best. It's very limiting if a director has something in mind super specific for a part; that could be great, but it could also be that the director is the one who is going to suffer the most from the burden of that limited vision. Not always, but it can be so. You have to have your eyes open to what the gods bring you that you never in a million years could have imagined. That's what's beautiful about filmmaking: these beautiful, weird things that the gods bring you. Back Stage: Do you make your decisions pretty quickly? A lot of your cast of "The Descendants" only had one audition. Payne: Yes. I believe Judy only had one audition. Lillard had only one audition. Shailene went on tape and sent it in; then I met her. I only need once. I get it. I know what the hell it is. Back Stage: Have you ever been wrong? Payne: Rarely. Sometimes they're one-line parts. I've screwed up a couple one-line day playersone, in particular, on "About Schmidt." But no, I'm pretty right, and I have a great casting director [John Jackson]. I give myself few compliments in filmmaking, but I cast well. Because that's your movie. I'm just trying to find the movie that I myself would want to see. That's my job. Even on the set when the actors are doing it and I have my camera, watching their performance, I'm watching them, but it's like it's going in and it's being projected on a movie screen in my brain. So I'm the only one on set actually sitting in the theater, watching the movie. And everybody else has their own little nichethe actors, the photographers, the gaffers, the dolly gripbut I'm the only one who's just there sitting in the movie theater, popcorn in hand, watching the movie. Saying, "Oh, it should be a little bit more to the left. No, that's a little slow; it should be a little faster." That's all it is. It's easy. Anybody could do it.Back Stage: Judy has praised her role in the film as being one of the most fully written characters she's played, even in just three scenes. Do you write with as much attention to detail for every role, not just the leads? Payne: You have to. And for actors, it's tough for bit players or smaller character parts. They have it hardest on a film, because they have to suggest an entire human being in one or two or three scenes. It's easier on leads, because they have the landscape of the whole film to build and suggest that character. But I learned that from Giamatti. He said, "It's much easier to play a lead than a character part."Back Stage: You've said you have to cast the right actor for the part; are you in the fortunate position that money doesn't enter the equation? There's no pressure to cast a name? Payne: I mean, if I cast stars in parts, I get more money to make the movie with, typically. But at least I have enough of a reputation that it seems if I keep my budget on the low side, which I always have to date, then I have much greater leeway in casting. "Sideways" was the first movie, my fourth feature, where I didn't have to have a star to get any financing at all. I finally had enough reputation on my own to cast who I wanted. Back Stage: Is there anything you want actors to know if they're fortunate enough to audition for you? Payne: Take it easy, there are no mistakes, and I don't expect a performance at all. It's really a glorified meeting. But what are we going to talk about? We might as well read the words from the script. And it gives me a vague idea of how sounds sound coming out of your head. Another analogy I've used: It's a pencil sketch on a cocktail napkin for what later is going to be a great oil painting. And we might even throw that sketch away. I don't care. Give me some credit as a director to see through the artificiality of an audition. It's really no big deal.Outtakes Received his MFA in 1990 from UCLA School of Theater, Film and TelevisionWrote "The Coffee Table Coffee Table Book" with James Zemaitis and "The Sideways Guide to Wine and Life" with frequent co-writer Jim TaylorLikes to cast Phil Reeves in his movies; Reeves can be seen in a coffee shop in "Sideways," as a minister in "About Schmidt," and as the principal in "Election" Alexander Payne Prefers Actors Who Can Communicate By Jenelle Riley December 14, 2011 PHOTO CREDIT Carolyn Cole/Los Angeles Times/Contour by Getty Images Alexander Payne is the kind of filmmaker his peers can't help envying. All five of his feature films have been successful, commercially and critically. More important, they were made on his terms, products of an offbeat and uncompromising vision. He can find the heart in any situation, be it controversial (think of the glue-sniffing pregnant woman unwittingly caught in an abortion debate in "Citizen Ruth") or ordinary (the meandering road trip of "About Schmidt"). And he has a way of making audiences invest in the average, such as the life of the failed authorwine connoisseur of his Oscar-winning "Sideways." He does so with pathos, humor, and an eye for everyday absurdities; it's not uncommon to find two people who have seen the same film by Payne and learn one laughed, while the other cried, throughout.His latest film, "The Descendants," tells the story of Matt King (George Clooney), a land baron in Hawaii who also is a distant descendant of King Kamehameha. Matt finds himself tasked with raising his two daughters (Shailene Woodley and Amara Miller) after his wife has a boating accident that places her in an irreversible coma. The film is full of complex and fascinating people, from his wife's angry father (Robert Forster) to her secret lover (Matthew Lillard) to his kind but clueless wife (Judy Greer). Even characters with only a few lines create fully realized individuals, thanks to the writing by Payne, Jim Rash, and Nat Faxon. And somehow Payne, a nice Midwestern boy from Omaha, Neb., understands the culture and lifestyle of Hawaii well enough to make the state its own character onscreen. There's a reason actors line up to work with Payne, who has gotten career-making performances from greats such as Reese Witherspoon ("Election") and Paul Giamatti ("Sideways"). As Lillard told Back Stage, "To speak to the talent of Alexander Payne real quick: This is a movie about a guy, his wife is dying, he's left with two kids, and [he's dealing with] indigenous land rights in Hawaii. There's not a studio in the world that would make that, except for Fox Searchlight. And Alexander Payne made it so that it's funny and touching."Back Stage: All your films have been such critical successes; do you feel the pressure to continue that winning streak? Alexander Payne: The pressure I have is internal, to make what I think is a good film. The person whose opinion I'm most interested in is my own, in a way. I'm at once humble enough and pretentious enough to say that I'm looking forward to making something really good in the future. These are fine little films that I feel I'm still cutting my teeth on and learning how to make a film and what a film is. I'm 50 now, and I hope this decade I can try and make one really good one.Back Stage: How do you alleviate that pressure for yourself? Payne: I'm always going to have that pressure in my life, because I want all my films to be good. But I want to work with the freedom that I could also be making a failure, as well. I used to be friends with an old Czech film director, and when I said goodbye to him as I was going off to make "Citizen Ruth," he said, "Oh, and one more thing." And I turned at the door, and he said, "Make a failure." Which means: Be free. Be free to just make what comes out; don't think about if it's good or bad; just go. Back Stage: Were there different stakes on this film, coming off an Oscar-winning picture? Payne: Actually, the pressure I felt in this one was about making a film in Hawaiiwhich is a very unique, complex, sometimes intimidating culture that has a very strong sense of "this is our culture, you're from outside, who is this mainlander coming out here to tell our story." All those traps you can fall into out there, I was very aware of that. And I knew that I wasn't telling a story about Hawaii but about this one little corner, this self-styled aristocracy. Still, whatever's happening in Hawaii in the background had to be right. The rhythms had to be right; it's not just the right locations and costumes. I'm reading some of these reviews now, and they say, "Oh, Payne has a certain languorous rhythm." I would say it's not me. That's Hawaii, coming through the film. Things just kind of slide this way and that, a little bit. This is all a long-winded way of saying I did feel internal pressure, within me, to get it right. Back Stage: Obviously you had the Kaui Hart Hemmings book as a source, but how did you get to know the culture so well? Payne: I read a lot of history, talked to a lot of peopleI was the frequent victim of the coconut wireless. On the other hand, I became friends with Gavan Daws, who wrote that book "Shoal of Time," which is still the best single-volume historical survey of Hawaii. He's an Aussie who's been there since '58. He knows more about the history of Hawaii than any other single living human. And even he said, "I've been there for 50 years, and it's more of a mystery than ever to me." So I can't purport to have mastered anything; I just had to get enough right so that the film rang true. Another thing I was proud of was the music in the film. I made the decision to use 100 percent preexisting Hawaiian music. Back Stage: You originally met with George Clooney when you were casting "Sideways"he was interested in the role that ultimately went to Thomas Haden Church. Is that where you first started thinking of him for "The Descendants"? Payne: In retrospect, yes. But when I was making "Sideways," I had no idea that "The Descendants" was coming my way. But it did spark in me an interest to work with Clooney. I really dig him as an actor and a starhe's so appealing and so interesting in what he does. Look at the range he's got, from "O Brother, Where Art Thou?"which is an extreme comic partto his deadly sobriety in "Michael Clayton," and his compelling charm in the "Ocean's" movies. He's always good; you always look at him. People tell me, "A half an hour into the film, I'm able to forget it's Clooney. He seems so Everymanish." But still, you look at him, as opposed to other people in the frame.Back Stage: Did you have him in mind when you were writing the script? Payne: Yeah, I did. Back Stage: I've been told that's dangerous to do, but I guess there aren't many actors you can't get. Does anyone say no to you? Payne: Early on, on "Citizen Ruth," I had some noes. I don't think I've had a no since then. Back Stage: It seems every actor wants to work with you Payne: Oh good, that means they can take less money and I can keep my budgets low, which I need to do. [Laughs.] Back Stage: You've said that you like actors who can act "fast" can you elaborate on that? Payne: A movie needs to be zippy. Kurosawa used to say of Mifune: "He can express in three gestures what it takes other actors seven." Film is a constant search for economy, so you want actors to act quickly.Back Stage: So you don't necessarily mean talking fast, just communicating things in a short amount of time? Payne: Yes. I am impressed by how quickly and effectively they can communicate what needs to be communicated.Back Stage: Matthew Lillard said that when he went into his audition, he was surrounded by muscular pretty boys. Were you originally looking for a different type for his role? Payne: I didn't know what I was looking for. Come one, come all.Back Stage: So you really are open to anything in some instances? Payne: Absolutely. That's the best. It's very limiting if a director has something in mind super specific for a part; that could be great, but it could also be that the director is the one who is going to suffer the most from the burden of that limited vision. Not always, but it can be so. You have to have your eyes open to what the gods bring you that you never in a million years could have imagined. That's what's beautiful about filmmaking: these beautiful, weird things that the gods bring you. Back Stage: Do you make your decisions pretty quickly? A lot of your cast of "The Descendants" only had one audition. Payne: Yes. I believe Judy only had one audition. Lillard had only one audition. Shailene went on tape and sent it in; then I met her. I only need once. I get it. I know what the hell it is. Back Stage: Have you ever been wrong? Payne: Rarely. Sometimes they're one-line parts. I've screwed up a couple one-line day playersone, in particular, on "About Schmidt." But no, I'm pretty right, and I have a great casting director [John Jackson]. I give myself few compliments in filmmaking, but I cast well. Because that's your movie. I'm just trying to find the movie that I myself would want to see. That's my job. Even on the set when the actors are doing it and I have my camera, watching their performance, I'm watching them, but it's like it's going in and it's being projected on a movie screen in my brain. So I'm the only one on set actually sitting in the theater, watching the movie. And everybody else has their own little nichethe actors, the photographers, the gaffers, the dolly gripbut I'm the only one who's just there sitting in the movie theater, popcorn in hand, watching the movie. Saying, "Oh, it should be a little bit more to the left. No, that's a little slow; it should be a little faster." That's all it is. It's easy. Anybody could do it.Back Stage: Judy has praised her role in the film as being one of the most fully written characters she's played, even in just three scenes. Do you write with as much attention to detail for every role, not just the leads? Payne: You have to. And for actors, it's tough for bit players or smaller character parts. They have it hardest on a film, because they have to suggest an entire human being in one or two or three scenes. It's easier on leads, because they have the landscape of the whole film to build and suggest that character. But I learned that from Giamatti. He said, "It's much easier to play a lead than a character part."Back Stage: You've said you have to cast the right actor for the part; are you in the fortunate position that money doesn't enter the equation? There's no pressure to cast a name? Payne: I mean, if I cast stars in parts, I get more money to make the movie with, typically. But at least I have enough of a reputation that it seems if I keep my budget on the low side, which I always have to date, then I have much greater leeway in casting. "Sideways" was the first movie, my fourth feature, where I didn't have to have a star to get any financing at all. I finally had enough reputation on my own to cast who I wanted. Back Stage: Is there anything you want actors to know if they're fortunate enough to audition for you? Payne: Take it easy, there are no mistakes, and I don't expect a performance at all. It's really a glorified meeting. But what are we going to talk about? We might as well read the words from the script. And it gives me a vague idea of how sounds sound coming out of your head. Another analogy I've used: It's a pencil sketch on a cocktail napkin for what later is going to be a great oil painting. And we might even throw that sketch away. I don't care. Give me some credit as a director to see through the artificiality of an audition. It's really no big deal.Outtakes Received his MFA in 1990 from UCLA School of Theater, Film and TelevisionWrote "The Coffee Table Coffee Table Book" with James Zemaitis and "The Sideways Guide to Wine and Life" with frequent co-writer Jim TaylorLikes to cast Phil Reeves in his movies; Reeves can be seen in a coffee shop in "Sideways," as a minister in "About Schmidt," and as the principal in "Election"

SAG produces off 'Midnight's' Hemingway

Stoll referred to Ernest Hemingway in Woodsy Allen's 'Midnight in Paris.'Corey Stoll's been snubbed with the Screen Stars Guild honours -- or otherwise by its rules. Stoll came out memorably as Ernest Hemingway in "Evening amount of time in Paris," which snagged one of the five ensemble cast nominations introduced Wednesday. He wasn't incorporated inside the report on seven cast people -- Kathy Bates (Gertrude Stein), Adrien Brody (Salvador Dali), Carla Bruni (museum guide), Marion Cotillard (Adriana), Rachel McAdams (Inez), Michael Sheen (Paul) and Owen Wilson (Gil). Stoll was nominated lately for just about any Spirit Award for your part along with Albert Brooks for "Drive," John Hawkes for "Martha Marcy May Marlene," Christopher Plummer for "Beginners" and John C. Reilly for "Cedar plank plank Rapids." Plummer also received a SAG nomination Wednesday. According to SAG Honours publicist Rosalind Jarrett, the exclusion of Stoll originates from director Woodsy Allen's decision to read Stoll round the co-starring card rather than round the starring card. "Inclusion for just about any film cast nomination is fixed to stars with single-card billing," she referred to. "The SAG Honours Committee ruled the starring card fit more with this particular single-card billing dependence on inclusion." Contact Dork McNary at dork.mcnary@variety.com

SAG Awards Nominees Announced

The casts of "The Help" and "Modern Family" were the most honored as the nominees for the 18th annual Screen Actors Guild Awards were unveiled Wednesday morning. Judy Greer of "The Descendants" and Regina King of TNTs "Southland" announced the nominees via a live webcast. In the film categories, "The Help" earned the most nominations with four: Viola Davis for lead female actor, Jessica Chastain and Octavia Spencer for supporting female actor, and one nod for best ensemble. Rounding out the best ensemble category were "The Artist," "Bridesmaids," "The Descendants," and "Midnight in Paris"the last of which was honored despite having received no nominations for individual performances. Films that did receive multiple individual nominations but missed out on a best ensemble nod included "J. Edgar," "Moneyball," and "My Week With Marilyn."ABC's "Modern Family" led all television series with four nominations, including Ty Burrell for best male actor in a comedy, Julie Bowen and Sofia Vergara for best female actor in a comedy, and best comedy ensemble. No drama series received more than two nominations.Two actors received multiple nominations this yearGlenn Close for her performances in the film "Albert Nobbs" and the DirecTV series "Damages," and Betty White for her turns in TV Land's "Hot in Cleveland" and the CBS television movie "Hallmark Hall of Fame: The Lost Valentine."The SAG Awards will be broadcast live Jan. 29 at 8 p.m. on TNT and TBS. The nominees are:FILM Outstanding Performance by a Male Actor in a Leading Role DEMIN BICHIR as Carlos Galindo - A BETTER LIFE (Summit Entertainment)GEORGE CLOONEY as Matt King - "THE DESCENDANTS (Fox Searchlight Pictures)LEONARDO DiCAPRIO as J. Edgar Hoover - "J. EDGAR" (Warner Bros. Pictures)JEAN DUJARDIN as George - "THE ARTIST" (The Weinstein Company)BRAD PITT as Billy Beane - "MONEYBALL" (Columbia Pictures)Outstanding Performance by a Female Actor in a Leading Role GLENN CLOSE as Albert Nobbs - "ALBERT NOBBS (Roadside Attractions)VIOLA DAVIS as Aibileen Clark - THE HELP (DreamWorks Pictures as Touchstone Pictures)MERYL STREEP as Margaret Thatcher - THE IRON LADY (The Weinstein Company)TILDA SWINTON as Eva - WE NEED TO TALK ABOUT KEVIN (Oscilloscope Laboratories)MICHELLE WILLIAMS as Marilyn Monroe - MY WEEK WITH MARILYN (The Weinstein Company)Outstanding Performance by a Male Actor in a Supporting Role KENNETH BRANAGH as Sir Laurence Olivier - MY WEEK WITH MARILYN (The Weinstein Company)ARMIE HAMMER as Clyde Tolson - "J. EDGAR" (Warner Bros. Pictures)JONAH HILL as Peter Brand - "MONEYBALL" (Columbia Pictures)NICK NOLTE as Paddy Conlon - WARRIOR (Lionsgate)CHRISTOPHER PLUMMER as Hal - BEGINNERS (Focus Features)Outstanding Performance by a Female Actor in a Supporting Role BRNICE BEJO as Peppy - "THE ARTIST" (The Weinstein Company)JESSICA CHASTAIN as Celia Foote - THE HELP (DreamWorks Pictures as Touchstone Pictures)MELISSA McCARTHY as Megan - BRIDESMAIDS (Universal Pictures)JANET McTEER as Hubert Page - "ALBERT NOBBS (Roadside Attractions)OCTAVIA SPENCER as Minny Jackson - THE HELP (DreamWorks Pictures as Touchstone Pictures)Outstanding Performance by a Cast in a Motion Picture THE ARTIST (The Weinstein Company)BRIDESMAIDS (Universal Pictures)THE DESCENDANTS (Fox Searchlight Pictures)THE HELP (DreamWorks Pictures as Touchstone Pictures)MIDNIGHT IN PARIS (Sony Pictures Classics)PRIMETIME TELEVISION Outstanding Performance by a Male Actor in a Television Movie or Miniseries LAURENCE FISHBURNE as Thurgood Marshall - THURGOOD (HBO)PAUL GIAMATTI as Ben Bernanke - TOO BIG TO FAIL (HBO)GREG KINNEAR as Jack Kennedy - THE KENNEDYS (REELZ CHANNEL)GUY PEARCE as Monty Beragon - MILDRED PIERCE (HBO)JAMES WOODS as Richard Fuld - TOO BIG TO FAIL (HBO)Outstanding Performance by a Female Actor in a Television Movie or Miniseries DIANE LANE as Pat Loud - CINEMA VERITE (HBO)MAGGIE SMITH as Violet, Dowager Countess of Grantham - DOWNTON ABBEY (PBS)EMILY WATSON as Janet Leach - APPROPRIATE ADULT (Sundance Channel)BETTY WHITE as Caroline Thomas - HALLMARK HALL OF FAME: THE LOST VALENTINE (CBS)KATE WINSLET as Mildred Pierce - MILDRED PIERCE (HBO)Outstanding Performance by a Male Actor in a Drama Series PATRICK J. ADAMS as Mike Ross - SUITS (USA)STEVE BUSCEMI as Enoch Nucky Thomson - BOARDWALK EMPIRE (HBO)KYLE CHANDLER as Eric Taylor - FRIDAY NIGHT LIGHTS (DirecTV)BRYAN CRANSTON as Walter White - BREAKING BAD (AMC)MICHAEL C. HALL as Dexter Morgan - DEXTER (Showtime)Outstanding Performance by a Female Actor in a Drama Series KATHY BATES as Harriet Korn - HARRYS LAW (NBC)GLENN CLOSE as Patty Hewes - DAMAGES (DirecTV)JESSICA LANGE as Constance - AMERICAN HORROR STORY (FX)JULIANNA MARGULIES as Alicia Florrick - THE GOOD WIFE (CBS)KYRA SEDGWICK as Dept. Chief Brenda Leigh Johnson - THE CLOSER (TNT) Outstanding Performance by a Male Actor in a Comedy Series ALEC BALDWIN as Jack Donaghy - 30 ROCK (NBC)TY BURRELL as Phil Dunphy - MODERN FAMILY (ABC)STEVE CARELL as Michael Scott - THE OFFICE (NBC)JON CRYER as Alan Harper - TWO AND A HALF MEN (CBS)ERIC STONESTREET as Cameron Tucker - MODERN FAMILY (ABC) Outstanding Performance by a Female Actor in a Comedy Series JULIE BOWEN as Claire Dunphy - MODERN FAMILY (ABC)EDIE FALCO as Jackie Peyton - NURSE JACKIE (Showtime)TINA FEY as Liz Lemon - 30 ROCK (NBC)SOFIA VERGARA as Gloria Delgado-Pritchett - MODERN FAMILY (ABC)BETTY WHITE as Elka Ostrovsky - HOT IN CLEVELAND (TV Land) Outstanding Performance by an Ensemble in a Drama Series BOARDWALK EMPIRE (HBO)BREAKING BAD (AMC)DEXTER (Showtime)GAME OF THRONES (HBO)THE GOOD WIFE (CBS)Outstanding Performance by an Ensemble in a Comedy Series 30 ROCK (NBC)THE BIG BANG THEORY (CBS)GLEE (FOX)MODERN FAMILY (ABC)THE OFFICE (NBC) SAG HONORS FOR STUNT ENSEMBLES Outstanding Performance by a Stunt Ensemble in a Motion PictureTHE ADJUSTMENT BUREAU (UNIVERSAL PICTURES)COWBOYS & ALIENS (UNIVERSAL PICTURES)HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 (WARNER BROS. PICTURES)TRANSFORMERS: DARK OF THE MOON (PARAMOUNT PICTURES)X-MEN: FIRST CLASS (20TH CENTURY FOX)Outstanding Performance by a Stunt Ensemble in a Television Series DEXTER (SHOWTIME)GAME OF THRONES (HBO)SOUTHLAND (TNT)SPARTACUS: GODS OF THE ARENA (STARZ)TRUE BLOOD (HBO)LIFE ACHIEVEMENT AWARD Screen Actors Guild Awards 48th Annual Life Achievement AwardMARY TYLER MOORE By Daniel Holloway December 14, 2011 The casts of "The Help" and "Modern Family" were the most honored as the nominees for the 18th annual Screen Actors Guild Awards were unveiled Wednesday morning. Judy Greer of "The Descendants" and Regina King of TNTs "Southland" announced the nominees via a live webcast. In the film categories, "The Help" earned the most nominations with four: Viola Davis for lead female actor, Jessica Chastain and Octavia Spencer for supporting female actor, and one nod for best ensemble. Rounding out the best ensemble category were "The Artist," "Bridesmaids," "The Descendants," and "Midnight in Paris"the last of which was honored despite having received no nominations for individual performances. Films that did receive multiple individual nominations but missed out on a best ensemble nod included "J. Edgar," "Moneyball," and "My Week With Marilyn."ABC's "Modern Family" led all television series with four nominations, including Ty Burrell for best male actor in a comedy, Julie Bowen and Sofia Vergara for best female actor in a comedy, and best comedy ensemble. No drama series received more than two nominations.Two actors received multiple nominations this yearGlenn Close for her performances in the film "Albert Nobbs" and the DirecTV series "Damages," and Betty White for her turns in TV Land's "Hot in Cleveland" and the CBS television movie "Hallmark Hall of Fame: The Lost Valentine."The SAG Awards will be broadcast live Jan. 29 at 8 p.m. on TNT and TBS. The nominees are:FILM Outstanding Performance by a Male Actor in a Leading Role DEMIN BICHIR as Carlos Galindo - A BETTER LIFE (Summit Entertainment)GEORGE CLOONEY as Matt King - "THE DESCENDANTS (Fox Searchlight Pictures)LEONARDO DiCAPRIO as J. Edgar Hoover - "J. EDGAR" (Warner Bros. Pictures)JEAN DUJARDIN as George - "THE ARTIST" (The Weinstein Company)BRAD PITT as Billy Beane - "MONEYBALL" (Columbia Pictures)Outstanding Performance by a Female Actor in a Leading Role GLENN CLOSE as Albert Nobbs - "ALBERT NOBBS (Roadside Attractions)VIOLA DAVIS as Aibileen Clark - THE HELP (DreamWorks Pictures as Touchstone Pictures)MERYL STREEP as Margaret Thatcher - THE IRON LADY (The Weinstein Company)TILDA SWINTON as Eva - WE NEED TO TALK ABOUT KEVIN (Oscilloscope Laboratories)MICHELLE WILLIAMS as Marilyn Monroe - MY WEEK WITH MARILYN (The Weinstein Company)Outstanding Performance by a Male Actor in a Supporting Role KENNETH BRANAGH as Sir Laurence Olivier - MY WEEK WITH MARILYN (The Weinstein Company)ARMIE HAMMER as Clyde Tolson - "J. EDGAR" (Warner Bros. Pictures)JONAH HILL as Peter Brand - "MONEYBALL" (Columbia Pictures)NICK NOLTE as Paddy Conlon - WARRIOR (Lionsgate)CHRISTOPHER PLUMMER as Hal - BEGINNERS (Focus Features)Outstanding Performance by a Female Actor in a Supporting Role BRNICE BEJO as Peppy - "THE ARTIST" (The Weinstein Company)JESSICA CHASTAIN as Celia Foote - THE HELP (DreamWorks Pictures as Touchstone Pictures)MELISSA McCARTHY as Megan - BRIDESMAIDS (Universal Pictures)JANET McTEER as Hubert Page - "ALBERT NOBBS (Roadside Attractions)OCTAVIA SPENCER as Minny Jackson - THE HELP (DreamWorks Pictures as Touchstone Pictures)Outstanding Performance by a Cast in a Motion Picture THE ARTIST (The Weinstein Company)BRIDESMAIDS (Universal Pictures)THE DESCENDANTS (Fox Searchlight Pictures)THE HELP (DreamWorks Pictures as Touchstone Pictures)MIDNIGHT IN PARIS (Sony Pictures Classics)PRIMETIME TELEVISION Outstanding Performance by a Male Actor in a Television Movie or Miniseries LAURENCE FISHBURNE as Thurgood Marshall - THURGOOD (HBO)PAUL GIAMATTI as Ben Bernanke - TOO BIG TO FAIL (HBO)GREG KINNEAR as Jack Kennedy - THE KENNEDYS (REELZ CHANNEL)GUY PEARCE as Monty Beragon - MILDRED PIERCE (HBO)JAMES WOODS as Richard Fuld - TOO BIG TO FAIL (HBO)Outstanding Performance by a Female Actor in a Television Movie or Miniseries DIANE LANE as Pat Loud - CINEMA VERITE (HBO)MAGGIE SMITH as Violet, Dowager Countess of Grantham - DOWNTON ABBEY (PBS)EMILY WATSON as Janet Leach - APPROPRIATE ADULT (Sundance Channel)BETTY WHITE as Caroline Thomas - HALLMARK HALL OF FAME: THE LOST VALENTINE (CBS)KATE WINSLET as Mildred Pierce - MILDRED PIERCE (HBO)Outstanding Performance by a Male Actor in a Drama Series PATRICK J. ADAMS as Mike Ross - SUITS (USA)STEVE BUSCEMI as Enoch Nucky Thomson - BOARDWALK EMPIRE (HBO)KYLE CHANDLER as Eric Taylor - FRIDAY NIGHT LIGHTS (DirecTV)BRYAN CRANSTON as Walter White - BREAKING BAD (AMC)MICHAEL C. HALL as Dexter Morgan - DEXTER (Showtime)Outstanding Performance by a Female Actor in a Drama Series KATHY BATES as Harriet Korn - HARRYS LAW (NBC)GLENN CLOSE as Patty Hewes - DAMAGES (DirecTV)JESSICA LANGE as Constance - AMERICAN HORROR STORY (FX)JULIANNA MARGULIES as Alicia Florrick - THE GOOD WIFE (CBS)KYRA SEDGWICK as Dept. Chief Brenda Leigh Johnson - THE CLOSER (TNT) Outstanding Performance by a Male Actor in a Comedy Series ALEC BALDWIN as Jack Donaghy - 30 ROCK (NBC)TY BURRELL as Phil Dunphy - MODERN FAMILY (ABC)STEVE CARELL as Michael Scott - THE OFFICE (NBC)JON CRYER as Alan Harper - TWO AND A HALF MEN (CBS)ERIC STONESTREET as Cameron Tucker - MODERN FAMILY (ABC) Outstanding Performance by a Female Actor in a Comedy Series JULIE BOWEN as Claire Dunphy - MODERN FAMILY (ABC)EDIE FALCO as Jackie Peyton - NURSE JACKIE (Showtime)TINA FEY as Liz Lemon - 30 ROCK (NBC)SOFIA VERGARA as Gloria Delgado-Pritchett - MODERN FAMILY (ABC)BETTY WHITE as Elka Ostrovsky - HOT IN CLEVELAND (TV Land) Outstanding Performance by an Ensemble in a Drama Series BOARDWALK EMPIRE (HBO)BREAKING BAD (AMC)DEXTER (Showtime)GAME OF THRONES (HBO)THE GOOD WIFE (CBS)Outstanding Performance by an Ensemble in a Comedy Series 30 ROCK (NBC)THE BIG BANG THEORY (CBS)GLEE (FOX)MODERN FAMILY (ABC)THE OFFICE (NBC) SAG HONORS FOR STUNT ENSEMBLES Outstanding Performance by a Stunt Ensemble in a Motion PictureTHE ADJUSTMENT BUREAU (UNIVERSAL PICTURES)COWBOYS & ALIENS (UNIVERSAL PICTURES)HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 (WARNER BROS. PICTURES)TRANSFORMERS: DARK OF THE MOON (PARAMOUNT PICTURES)X-MEN: FIRST CLASS (20TH CENTURY FOX)Outstanding Performance by a Stunt Ensemble in a Television Series DEXTER (SHOWTIME)GAME OF THRONES (HBO)SOUTHLAND (TNT)SPARTACUS: GODS OF THE ARENA (STARZ)TRUE BLOOD (HBO)LIFE ACHIEVEMENT AWARD Screen Actors Guild Awards 48th Annual Life Achievement AwardMARY TYLER MOORE

Glenn Beck's GBTV Set to Launch Reality Show 'Independence U.S.A.'

The mansion on FX's rookie drama American Horror Story is up for sale.our editor recommends'American Horror Story': Did You See Violet's Reveal Coming?'American Horror Story's' Kate Mara Answers Burning Questions About HaydenPaleyFest 2012: 'American Horror Story,' 'Mad Men' and 'Modern Family' to Be Spotlighted'American Horror Story's' Denis O'Hare Answers Burning Questions About Larry The setting for numerous nightmarish events on the Ryan Murphy and Brad Falchuk-created horror series is on the market for a cool $4.5 million by real estate agent Joe Babajian. The six-bedroom, five-bath abode covers 10,440 sq. feet and rests on a lot that is nearly 30,000 sq. ft. PHOTOS: Who's Who on 'American Horror Story' Located at 1120 Westchester Place in Los Angeles, the Alfred F. Rosenheim mansion is described as an "irreplaceable masterpiece comprised of a 3-story main house plus a grand ballroom (formerly a chapel) currently used as a recording studio." And like its portrayal on the FX drama, the abode has a unique character, with everything from "Tiffany leaded-glass display cases and a museum-qualtiy set of Tiffany glass doors" to "6 vintage tile fireplaces." STORY: 10 Things to Know About 'American Horror Story' "This residence evokes the quality and grandeur of a bygone era," the listing states. Will this affect filming on American Horror Story? Not quite. Connie Britton, who plays Vivien, revealed in an interview earlier this year that while the pilot was filmed was on location, the following episodes were shot on an exact replica. "That house is the most amazing thing. It is a location. We shot the entire pilot in that house in Los Angeles," Britton says. "To shoot the series, they have actually built sets that are exact replicas. ... When we're on the set, it feels like we're in that house, to the point where on the set you know if you run up the stairs to the second floor, it kind of ends. It sort of just ends into nothingness, like you could actually eventually walk off of a platform." PHOTO GALLERY: View Gallery 'American Horror Story': Who's Who Related Topics American Horror Story

Connecticut Congressman Blasts Lowe's on House Floor (Video)

Michael Weaver/NBC The brief revival of Fear Factor may have more life to it if it maintains its premiere's strong showing among adults 18-49. Though CBS still won the night in the key demo, NBC's competition pushed it to number two for the night, with its strongest Monday in recent memory. Fear Factor pulled in a 3.2 rating among adults 18-49 at 8:00 p.m. and rose to a 3.5 in the second hour. The two-hour broadcast also averaged 8.6 million viewers, leading into Chelsea Clinton's Rock Center debut, which was up from the previous week for a 1.1 rating. NBC averaged 2.6 among adults 18-40 for the night. PHOTOS: Fall TV Death Pool: Which New Shows Will Be Axed? CBS won the night in viewers and the demo, though the network's slightly tweaked schedule saw it dip nearly 12 percent among adults 18-49. How I Met Your Mother, which enjoyed three-year time slot highs last week, was off the schedule, leaving a softer 2 Broke Girls (4.1 in 18-49-ers) at 8:00 p.m., followed by a repeat of the same (3.3), Two and a Half Men (4.6) and Mike & Molly (3.9). Hawaii Five-0 finished off the night with a 2.8. Fox's final ratings will likely be adjusted up, as the St. Louis affiliate aired Monday's NFL game, but as it stands the network brought in an average 1.8 among adults 18-49 for the night. Terra Nova matched series lows for the penultimate episode of its freshman season. The drama pulled in a 2.1 rating among the key demo, with an audience of 6.99 million. An encore of House brought in a 1.4. PHOTOS: Behind the Scenes of 'Terra Nova' You Deserve It, ABC's good-natured game show, continued to suffer. The series hit another low -- a 0.9 rating among adults 18-49 -- after the network's airing of I Want a Dog For Christmas (1.4). A Castle rerun (1.0) capped off the night, bringing its average to a 1.1 rating. Hart of Dixie had two repeats on the CW, which netted a 0.5 rating with adults 18-49 for the night. Monday, Dec. 12, Overnight Ratings: 8 p.m. CBS: 2 Broke Girls (12.5 million viewers, 4.1 rating in adults 18-49) NBC: Fear Factor (8.7 million, 3.2) Fox: Terra Nova (6.99 million, 2.1) ABC: I Want a Dog For Christmas (5.3 million, 1.4) The CW: Hart of Dixie (R) (1.4 million, 0.4) 8:30 p.m. CBS: 2 Broke Girls (R) (10.3 million, 3.3) 9 p.m. CBS: Two and a Half Men (14.7 million, 4.6) NBC: Fear Factor (8.5 million, 3.5) Fox: House (R) (4.4 million, 1.4) ABC: You Deserve It (3.4 million, 0.9) The CW: Hart of Dixie (R) (1.3 million, 0.5) 9:30 p.m. CBS: Mike & Molly (12.8 million, 3.9) 10 p.m. CBS: Hawaii Five-0 (10.9 million, 2.8) NBC: Rock Center With Brian Williams (4.0 million, 1.1) ABC: Castle (R) (4.2 million, 1.0) TV Ratings

Middleditch in Warners' team of 'Rivals'

"Fun Size" thesp Thomas Middleditch has grew to become an associate from the cast of "Rivals," the Jay Roach-directed Warner Bros. comedy that's presently shooting in New Orleans. Will Ferrell and Zach Galifianakis star as rival people in politics running for just about any congressional chair inside a small New You are able to district election. Middleditch may have a slacker who works together Galifianakis' character. The comfort in the pic's supporting cast includes Dylan McDermott, Jason Sudeikis, John Lithgow and John Cox. Taken, Middleditch was named among Variety's 10 Comics to check out, while he regularly works within the UCB Theatre go to college Humor videos. Thesp, who'll soon be seen alongside Paul Dano and Robert P Niro in Paul Weitz's "Being Flynn," may also be installed on star in Scot Armstrong's comedy "Path to Nardo." In addition, Middleditch got an plane pilot order from MTV for his animated project "Worst Pals Forever" he'll voice and professional produce with Mike Judge, John Altschuler and Dork Krinsky. Middleditch is repped by WME and Kirsten Ames Management. Contact Rob Sneider at rob.sneider@variety.com

Boston Critics: The Artist, Martin Scorsese, Brad Pitt, Michelle Williams

The Artist was the Boston Society of Film Critics’ choice for Best Picture. Brad Pitt was voted Best Actor for Moneyball and Michelle Williams was honored as Best Actress. In supporting categories Melissa McCarthy won for Bridesmaids and Albert Brooks took a prize for Drive. Complete list follows: Best Picture “The Artist” (Runners-up: “Hugo” and “Margaret”) Best Director Martin Scorsese, “Hugo” (Runner-up: Michel Hazanavicius, “The Artist”) Best Actor Brad Pitt, “Moneyball” (Runners-up: George Clooney, “The Decendants” and Michael Fassbender, “Shame”) Best Actress Michelle Williams, “My Week With Marilyn” (Runner-up: Meryl Streep, “The Iron Lady”) Best Supporting Actor Albert Brooks, “Drive” Best Supporting Actress Melissa McCarthy, “Bridesmaids” (Runner-up: Jeannie Berlin, “Margaret”) Best Screenplay “Moneyball” (Runner-up: “Margaret”) Best Foreign Film “Incendies” (Runners-up: “A Separation” and “Poetry”) Best Cinematography “The Tree of Life” (Runner-up: Hugo) Best Documentary “Project Nim” (Runner-up: Bill Cunningham, NY) Best Film Editing (awarded in memory of Karen Schmeer) The Clock (Runner-up: Hugo) Best New Filmmaker (awarded in memory of David Brudnoy) Sean Durkin, Martha Marcy May Marlene (Runner-up: JC Chandor, Margin Call) Best Ensemble Cast “Carnage (Runner-up: “Margaret”) Best Use of Music in a Film “The Artist” and “Drive” (Runner-up: “The Descendants”)

Robert Downey Junior. States Paul Thomas Anderson Collaboration Is 'Probably True'

Although Robert Downey Junior. continues to be by pointing out super hero action star spectacle films lately, we can not forget that his body of labor pre-"Iron Guy" involved an online smorgasbord of figures in many quieter think pieces, TV dramedies and cool indies. Therefore once the news broke captured that Downey Junior. and director Paul Thomas Anderson may be cooperating on the giant screen adaptation of Thomas Pynchon's "Natural Vice," it appeared just like a perfect fit for moviemaking miracle. Anyway, when MTV News swept up using the guy under consideration in the press day for "A Virtual Detective: A Game Title Of Shadows" lately, we requested him when the report about "Natural Vice" was fact or fiction. "Anything related to Paul Thomas Anderson and that i carrying out a movie together is most likely true," Downey Junior. stated. "We often discuss a number of potential projects, and Thomas Pynchon's 'Inherent Vice' might be great, we'll see." We pointed out the truth that we now have expect the pairing, even though the in-demand actor appears to become constantly reserved. "I seem like I am reserved but I am not. I make space for which I wish to do," he stated, adding that what he likes most about Anderson is always that he's gifted and merely darn likeable. "I simply think he's our great American company directors, I simply like spending time with the man.Inch "Natural Vice" is occur the swingin' '60s and Downey was rumored to experience Ray Doc Sportello, an L.A.-based detective agency who assumes a situation including an ex-girlfriend, her property billionaire boyfriend along with a kidnapping.

Simon Cowell One Of Walters Fascinating People

First Published: December 1, 2011 2:02 PM EST Credit: Access Hollywood Caption Simon Cowell chats with Access Hollywood afterThe X Factor on October 25, 2011NY, N.Y. -- Barbara Walters has named talent-show tycoon Simon Cowell, NY Yankees star Derek Jeter and pop singing sensation Katy Perry as three of the years 10 Most Fascinating People. Also on the list are businessman and TV personality Donald Trump, the Kardashian reality TV family, plus Jesse Tyler Ferguson and Eric Stonestreet, the onscreen couple from ABCs comedy hit Modern Family. Others include Pippa Middleton, sister of British royal Kate Middleton, and Amanda Knox, the former Seattle exchange student whose four years in custody ended when an Italian court overturned her murder conviction. A ninth name is yet to be announced. The Most Fascinating Person will be revealed on the broadcast. The 90-minute special airs on ABC on Dec. 14. Copyright 2011 by The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.