Q&A with Oren Moverman

MovermanOren Moverman's collaboration with Woody Harrelson earned the thesp a supporting actor Oscar nom for 2008's "The Messenger" and a Spirit nom for "Rampart." Moverman recently spoke with Variety's Christy Grosz about how he uses the editing room to help shape his films, and his affinity for stories about conflicted men in uniform.You didn't come on to "Rampart" with the intention of directing it. Did that change your approach to writing the script at all once you dove into it?Yes, a lot changed. They had a script that James (Ellroy) had already written. It was kind of brilliant. It was just huge and had a lot of very complicated things. It was either unfilmable or not fitting into the budget of what was going to be an independent movie. I was brought in to get it under control and streamline it. Once I got to enjoy getting into the James Ellroy voice, I guess I got hooked. When I submitted it, I was very proud of myself because I thought I had written something like James Ellroy or something where I faked his voice. I thought, "Wow, I guess they bought into it." And they said, "Maybe you should direct it." Once that process started, it was really about figuring out how to translate what is on the page onto the screen. That is a whole other process. Does it make it easier to have somebody who has been nominated for an Academy Award attached to the project when you go out to find the financing? (laughs) Well, it doesn't make it harder. Of course (financing) is hard for everyone no matter what you have done. The fact that we could cast the movie around Woody and have a lot of people who are interested in working with Woody come on board, really helped secure financing.Both "The Messenger" and "Rampart" have dealt with men whose face in society is a uniform. Is that a coincidence or is there something about a career in uniform that intrigues you?The police and the military are very clear metaphors about masculinity. I never planned on directing "Rampart" and I really never planned on directing "The Messenger," so in that respect I would say it could be a coincidence. But do we really believe in coincidence? I'm not sure. I think it definitely fits into what interests me. I come from Israel, so I spent a few years in the military, and I have a lot of friends who were in the military. It definitely intrigued me to see how that particular environment affects male behavior, both good and bad.Can you tell me a little bit about how your process works? It's been said that you like to find the heart of the film in the editing room.The process is very focused and very open, but you know there are a lot of contradictions happening at the same time that you don't rehearse. I like to prepare with the actors as much as possible, putting together their back stories and getting deep into the characters. But the expectation is that they bring the characters' world into the scene so that we shoot without rehearsing and really find the scene as we go. It is not really that I am finding the movie in the editing room. It is that we are finding the movie together throughout the entire process. A lot of times, it is based on very practical things, like which locations we can get. There is a scene in the movie that takes places in a swimming pool in the rain, and originally that was scripted as a scene at the door of the house. It was just Robin (Wright) arriving and finding Woody outside her door in the rain, and that was the scene. But we lost that location a couple weeks before we were supposed to shoot it. We went across the street and found this house that was so much better -- as soon as I saw the pool, I said, "Oh, OK, that is the scene." I would like to be one of those writer-directors who says it was all on the page; it was a perfect vision executed onscreen. But the truth is that I like the process of finding things as we go and working them in organically. It's on every level: not just the script, not just the acting, but obviously going into the editing room and shaping and sculpting it to find the best version. When we shot the scene where Bree Larson, who plays Woody's older daughter, sees him outside the house looking in, I remember turning to the DP Bobby Bukowski and saying, "I think that is the end of the movie." It wasn't supposed to be the end of the movie in the script. But when you are on set, if you are open to it, a lot of things start to become clear in terms of where you are going. You really have to shoot as much as possible and get as much of the script as you plan to get, then sit in the comfort of the editing room and figure out whether your instincts are right or not.Do you think you would be able to have that level of flexibility if you were working on a bigger studio movie?I'm not sure that a studio would be comfortable working in this way. It's one way of working, it is not the only way of working and it is not the only way I see myself working. With "The Messenger" and "Rampart," I had the privilege of a lot of freedom and a lot of trust in the process because the people who were financing were open to that. I fully expect to find people who are not open to that. Then it becomes a whole other exercise, but that is just as exciting to me.This is also your second collaboration with Woody Harrelson and Ben Foster. What works so well for you in collaborating with both of them?I'm not exactly sure. The process of making "The Messenger" brought us really close to each other, and we really enjoy the process of working together. At this point, everything is sort of mixed up -- the personal and the professional -- and we just want to keep playing together. Contact Christy Grosz at christy.grosz@variety.com

Keck's Exclusives: John Cleese Visits NBC's Whitney

John Cleese Whitney Cummings is seeking psychological treatment from John Cleese. The Monty Python alum, whose rare TV appearances have been limited to episodes of Will & Grace and Third Rock From the Sun, will guest star in a February episode of NBC's Whitney as a couples therapist. When Whitney and Alex (Chris D'Elia) begin feeling disconnected in their relationship, Roxanne (Rhea Seahorn) suggests they visit a therapist, Dr. Grant, for some advice. Cleese plays Dr. Grant, who assigns the couple some at-home exercises designed to improve communication and intimacy. Not surprisingly, this results in some decidedly awkward moments. Would we expect anything less from Mr. Cleese? For a look at John on set, check out Chris's recent tweet: "Pretty cool moment for me." Subscribe to TV Guide Magazine now!

CBS Coming back Person to person

Lara Logan, Charlie Rose CBS News is coming back Person to person, the 19 fifties prime-time program that developed celebrity interviews and was situated by legendary newsman Edward R. Murrow. "We have imagined about obtaining a contemporary version from the great program ... to CBS for any very long time - which is now happening," CBS News Chairman Rob Fager mentioned Thursday. "This is an exciting new development for people, particularly because it'll be introduced by a few our most accomplished producers and a pair of within our best interviewers." Charlie Rose and Lara Logan will co-host the completely new version, that is proven every so often in prime time, beginning Wednesday, Feb. 8 at 8/7c. See the relaxation in the day's news The network didn't reveal who can happen round the premiere. Round the original, which went from 1953 to '61, the site visitors covered a range of newsmakers and stars - Marilyn Monroe, John Steinbeck, Margaret Mead, John F. Kennedy (a senator) and Fidel Castro (who came out in pajamas). In the statement, CBS mentioned Person to person "will retain the majority of the elements that made the first so captivating." Rose, the PBS interviewer who's joining CBS' refurbished morning show, and Logan, the network's primary foreign matters correspondent, brings audiences to the private houses of public people - musical artists, stars, company company directors and political leaders. Conversation will be the primary focus. The executive producer in the series is Susan Zirinsky, who's the executive producer of 48 Several hours Mystery.

Andie MacDowell's Daughter, Rainey Qualley, Named Miss Golden Globe 2012

Shares of Coinstar rose 8 percent Thursday after reports that the company's Redbox DVD-kiosk company will team with Verizon to launch an Internet business to compete with the likes of Netflix, Amazon.com, Hulu, Apple's iTunes and others.our editor recommendsStudios Mull 60-Day Delay on Netflix, Redbox DVD RentalsRedbox to Raise DVD Rental Price 20% Per DayVerizon Looked at Buying Hulu According to technology Web site TechCrunch, Redbox and Verizon plan to launch their TV and movies product by the middle of next year, and it will include content for streaming and downloading. The product, dubbed Project Zoetrope internally, will sell various subscription tiers beginning at about $6 per month. Some tiers would include DVD rentals at Redbox kiosks. Shares of Coinstar jumped $4.35 on the report to $47.45. Netflix shares fell 4 percent Thursday to $69.42. PHOTO GALLERY: View Gallery Netflix's 10 Most Rented Movies of All Time Related Topics Amazon.com Netflix Hulu iTunes Redbox

Light of Mine

A Resonance Prods. presentation. Produced by Jill Remensnyder, Brett Eichenberger. Executive producer, Josh Wallace. Directed, edited by Brett Eichenberger. Script, Jill Remensnyder.With: Ji Tanzer, Rebecca Sanborn, Justin King, Lanie Hoyo.An electronic digital photographer who's going blind constitutes a person final trip along with his loving wife through Yellowstone in "Light of Mine," that's as replete with good intentions since it is with awkward storytelling options. A typical situation of regional moviemaking (in this particular situation, the Central Northwest of Tigard-based director Brett Eichenberger) that honours good-hearted figures over filmmaking sophistication, the pic will draw fascination with U . s . States indie fests hunting for a product with spectacular landscapes. Professional shutterbug Owen (Ji Tanzer) finds out from his physician he features a inflamed retina that will soon cause total blindness in eyes. Owen's music artist wife, Laura (Rebecca Sanborn, a jazz music artist who regularly gigs with Tanzer), urges these to accept trip of your life, meaning a trek from Or for the most tourist-friendly areas of Yellowstone. Staged moments tend toward wooden dialogue and perfs, while instantly taken moments (for instance encounters while using park's imposing wildlife) spark brief moments of curiosity.Camera (color, 16mm-to-DV), Patrick Neary, Michael Ferry music, John Askew, Rebecca Sanborn production designer, Becky Wilberding. Examined at AFI Film Festival, November. 5, 2011. Running time: 76 MIN. Contact the number newsroom at news@variety.com

Wim Wenders Explores New Dimensions With 'Pina'

BERLIN - An image of German choreographer Pina Bausch dangles, in memoriam, within the Spartan hallway of Wim Wenders' Berlin office.Bausch, or Pina to everybody who understood her, died last year, just like Wenders was going to begin shooting a film about her and her work.That which was planned like a documentary grew to become another thing: the earth's first three dimensional art house film and Wenders' true testimonial towards the lady many credit with changing the landscape of the skill of dance.The film, Germany's official entry for that 2012 language Academy awards along with a leader within the best documentary category too, may be the culmination of the dependence on Pina's work that Wenders states started as soon as he saw Bausch's Tanztheater back in 1984.InchI saw the very first bit of Pina's and immediately saw five more I saw everything she did," he states. "I'd seen some classical dance, however i was always bored. Here was something different. Even calling it modern dance is inappropriate. She produced the term tanztheater, dance theater. What she does is plays in which the acting is performed by ballroom dancers."Bausch's jobs are, at first glance, mobile phone industry's from the films from the German auteur. Although her pieces frequently contain snatches of dialogue itself scandalous for classical-dance purists there's no recognizable narrative. Wenders tried documentaries, however the subject in "Buena Vista Social Club" and "The Soul of Guy" was always music. In the huge body of labor, you will find no overt references to bop.But as soon as he first viewed it, Wenders understood Bausch's Tanztheater belonged around the giant screen. The only issue was, the director of "Paris," "Texas" and "Wings of Desire" had no clue how to get it done.InchIt grew to become a running joke," Wenders states. "She'd say, 'Wim, when are you currently doing that movie on me?' and I'd say, 'Pina, I'm not sure how.' "The issue was space. Imagine shooting a dance performance: Where would you place the camera? Perform a close-up of merely one dancer, and also you miss what are you doing behind, before and beside them. Withdraw for any wide shot, and also the scene flattens out you can observe everybody, however the emotion is finished. And Pina's dances are emotional towards the core."The greater I acquired to understand her work, the less I figured I could shoot it in ways which was valid," Wenders states.Then, in 2006, he saw an earlier cut from the groundbreaking digital concert film "U2 three dimensional" in Cannes."It had been the very first three dimensional film, the first one to make use of this new technology," Wenders states. "I known as Pina in the screening. I stated, 'Now I understand how.A "three dimensional may have reduced the problem of space, however when Wenders did his first tests, there is one other issue: movement. In 2006, the very best three dimensional cameras still struggled taking rapid motion. There is a shuttering effect: A dancer running over the stage would all of a sudden appear to possess three legs or four arms."Even just in 'Avatar,' should you consider the original, real-existence footage not the stuff completed in computer you understand it's less elegant, cumbersome," he states. "4 years ago, the sun's energy could not handle natural movement. Therefore we needed to wait."By summer time 2009, the sun's energy had advanced to the stage where they might start. Then Pina died of cancer in her own hometown of Wuppertal. She was 68."I'd dinner together with her eight days before she was obtained from us," he states, his voice catching. "She looked tired. All of us thought she was exhausted, which with Pina would be a constant condition. She checked to the hospital for which we thought would be a routine examination. 5 days later, she was dead."Wenders immediately canceled the film. How could he continue with no single second of footage together with his protagonist? He'd planned to follow along with Pina all over the world and chronicle her unconventional working method. When creating a performance, she'd request her ballroom dancers questions regarding their figures, and they'd answer with gestures and movement. From that, she'd build the performance.It had been to become a film about Pina, and Pina vanished. But her worldwide group of followers and dance troupe hadn't quit. They spoken with Wenders, telling him to help keep going.So he did. He and Bausch had selected five plays to do at Tanztheater. He shot individuals, then stopped."I needed to alter the entire idea of the film I needed to find an alternative to Pina's presence," Wenders states. "Finally, I recognized it needed to be those who understood her best. It needed to function as the ballroom dancers."Wenders required Pina's approach to interrogating her ballroom dancers and modified it towards the documentary, however with a twist: He requested them concerning the choreographer, plus they clarified with movement. It makes sense a doc without any narrative and practically no dialogue, however with a psychological energy that's tough to deny.Then, battling to complete the film at the begining of 2010, he added another wrinkle: Wenders required the ballroom dancers offstage coupled with them perform outdoors around the roads, within the industrial facilities and across the open-faced coal starts of Wuppertal, Pina's home town.It had been an inspired move. Using the three dimensional cameras outdoors reveals "Pina." The ballroom dancers dip and bob on the traffic island as cars zip by. A lady pirouettes onto a hanging rail vehicle. Another moves over the floor of the abandoned mine, battling underneath the weight of her husband or boyfriend.Inchthree dimensional really grows fastest on space the three dimensional camera loves infinity, the horizon," Wenders states. "It is a shame the three dimensional almost everyone has seen wasn't shot within the real life however in the galleries since it is within the real life where three dimensional really makes its very own.InchIt makes sense perhaps probably the most innovative and effective film Wenders makes inside a decade. "Pina" has got the jerk in the German Film Honours and European Film Honours for the best documentary and, knowing through the critical reaction to the film, is most likely Wenders' best-ever chance ever to win an Oscar - among the only major film honors the German auteur has yet to assert. However for Wenders, the only real critical opinion that actually matters may be the among the lady whose absence fills the screen."I'd have loved to exhibit it to Pina," he muses, softly. "Obviously, that wasn't possible. I hope it is a proper homage to her by those who understood and loved her best: her very own ballroom dancers." The Hollywood Reporter

Fashion Slam: The Friday Five Stars Gone Mild?

First Launched: December 2, 2011 5:07 PM EST Credit: WireImage La, Calif. -- Caption Rhianna within the Grammy nominations concert in LA on November 30, 2011A slew of favor-forward stars hit the town now, so did they push the form envelope? Which red-colored-colored carpet risk takers went wild and who saved it mild? Heres how they stack on the scale of a single-5, with 1 being mild and 5 being wild. Rhianna SCORE: 2 from 5 No raw meat dress or hot pink sperm hat here! The Lady almost seems just like a girl in this particular Carolina Herrera black one-shoulder silk gown by getting an oversize bow. Clearly, the primary raccoon eyes begin to the over-the-top Gaga territory weve all arrived at anticipate in the star and Grammy nominee! KATY PERRY SCORE: 2 from 5 Pretty tame for your fun, sexy Katy who used this pastel lace bustier Dolce & Gabbana gown for the Grammy nominations concert. Allow Katy, to fresh paint coordinate her use her dress! NICKI MINAJ SCORE: 1 from 5 Where's the signature crazy outfit we love to? This must function as most understated look I have run into within the crazy rapper! Like Katy, she also elected for Easter time time egg-hued hair, which carried out off her vibrant blue bustier dress. She accessorized the look by getting an oversize Barbie dolls dolls necklace. Restore the drama, STAT! Nicole Kidman SCORE: 3 from 5 Always an artist devotee, SJP loves to take risks and he or she applies to this using this unusual Lv ombre feathered dress. Shes certainly worn wilder looks (hello Philip Treacy bird nest hat!) and even though this is not the most popular look, I like they always keeps us taking a chance. CHARLIZE THERON SCORE: 3 of 5 The actress doesn't necessarily be careful (bear in mind that Dior dress while using giant roses on each breast she utilized in the Academy awards?), but generally, she is applicable for an elegant, elegant style. Shes taking a bit of the departure together with a stroll round the wilder affiliate with this particular plunging, low-cut Gucci dress at NYs Gotham Honours. The shape showcases her extended neck and well-well toned arms and shoulders. She looks sexy and gorgeous! Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Grey's Anatomy Reunites Derek and Addison in Another World

Private Practice, Grey's Anatomy First, Grey's Anatomy did a musical episode. Now they are diving into alternate galaxies. Within an episode slated for Feb, Meredith (Ellen Pompeo) will receive a opportunity to see what existence would have been like if her late mother, famous surgeon Ellis Gray (Kate Burton), didn't have Alzheimer's disease, TVLine.com reviews. Browse the relaxation of present day news This alternate reality won't have a less dark and twisty Meredith, but the return of countless Grey's alums, namely Addison (Kate Walsh), who, within this reality, continues to be married to Derek (Patrick Dempsey). While we'd like to view it happen, we will not be holding our breath for that return of George (T.R. Dark night) or Izzie (Katherine Heigl). Who do you want to see return?

'Idiot' to tour U.K.

Eco-friendly Day tuner "American Idiot" will have an eight-week U.K. tour the coming year. Unlike most imported U.S. tuners, which open cold in the western world Finish, the show, created within the U.K. by SJM Concerts and Flying?Entertainment, will open on the highway in Southampton in October 2012. The tour is constantly on the Cardiff, Edinburgh, Glasgow, Dublin, Manchester and Birmingham before playing 1 week in December at London rock venue HMV Hammersmith Apollo. The development, which went for around annually on Broadway and won Tonys for scenic design and lighting, is going to be helmed by original Broadway director Michael Meyer ("On the Obvious Day You Can Observe Forever") and can feature a united states cast. Brit incarnation's producers are apparently seeking a West Finish berth to follow along with the tour. Contact Variety Staff at news@variety.com

'Juan from the Dead' stumbles to U.K., Japan

'Juan from the Dead' now offers U.K., Japan sales.BUENOS AIRES -- Metrodome has had U.K. privileges and Fine Films has nabbed Japanese privileges to Alejandro Brugues' "Juan from the Dead," Cuba's first zombie comedy.Alfredo Calvino's Latinofusion, "Dead's" telemarketer, offered the film to Germany's Panda Storm and Russia's Cinema Prestige straight off its Toronto world preem.Calvino can also be settling France, Mexico, South america and Colombia, he stated.John Sloss and Bart Walker's Cinetic Media boarded "Dead" at Toronto to repetition a United States purchase, that is now in advanced discussions, Calvino added.The splatstick fiesta has Alexis Diaz p Villegas like a 40-year-old slacker who, whenever a zombie outbreak infests Cuba, attempts to turn some fast cash slaying families' undead relatives."Dead" segued from Toronto towards the Austin, Chicago, Rio, Marly del Plata, Stockholm and Leeds fests, nabbing Leeds' Fanomenon Audience Award.The pic makes its Latin American bow in the Havana Film Festival this month.Despite its barbs, Brugues' demands "Dead" is really a "fun" comedy, not serious political allegory. But Cubans will finally get their own cadaver shamblefest."We expect a massive Cuban crowd, all thirsting for bloodstream," Calvino excited.Latinofusion has additionally acquired "Expiration Date," from Mexico's Kenya Marquez. A non-linear dark comedy/mystery overflowing through the acting talents of lead Damian Alcazar, "Date," was among the standout hits using the public at Mexico's Morelia Fest. The first kind Guadalajara fest director's helming debut won its audience prize, along with a jury special mention.James Youthful led for this article. Contact the range newsroom at news@variety.com