Steven Soderbergh's New Project Is Thriller 'The Bitter Pill' (Exclusive)

NY -- Beginners and The Tree of Lifetied for best feature at the 21st annual Gotham Independent Awards on Monday night in NY.our editor recommends24 Hours of Awards Season MadnessGotham Awards 2011: Honorees Charlize Theron, Gary Oldman Reveal the Inspiration Behind Their WorkGotham Independent Film Awards Tap Edie Falco and Oliver Platt as Co-HostsGotham Award Noms Go to 'The Descendants' and 'Martha Marcy May Marlene'Do Gotham Awards Nominations Actually Impact Oscar Race? (Analysis)Tom Rothman to Receive Lifetime Achievement Honor at Gotham AwardsGary Oldman, Charlize Theron and David Cronenberg to Be Feted at the Gotham AwardsTHR's Actress Roundtable: Six A-Listers Sound Off on Bad Reviews, Nudity and Playing Hitler Beginners starsChristopher Plummer and Ewan McGregor in a comedy/drama about a young man rocked by news that his elderly father has terminal cancer and a young male lover. Mike Mills directed, with Leslie Urdang, Dean Vanech, Miranda de Pencier, Jay Van Hoy and Lars Knudsen serving as producers of the Focus Features movie. PHOTOS: Gotham Awards 2011 Red Carpet Arrivals Beginners,whose cast also includesMelanie Laurent, Goran Visnjic, KaiLennox, Mary Page KellerandKeegan Boos,also won the best ensemble performance award. Tree of Life isa Terrence Malick-directed family drama set in the 1950s and starring Brad Pitt, Sean Penn and Jessica Chastain. The film from Fox Searchlight Pictures had Sarah Green, Bill Pohlad, Pitt, DedeGardner and Grant Hill as producers. Of the joint win, Mills told The Hollywood Reporter: "I'm really glad it's a tie. That is so nice. I wish it could be a five-way tie. You know, the competition thing is weird." Pohlad and Green echoed that sentiment after the ceremony. "It's stunning," Pohlad told THR of the joint win. "I know it sounds kind of disingenuous, but you don't come into something like this thinking we're going to get it or we're not going to get it.And the way they announced it was really special." PHOTOS: THR's Actress Roundtable 2011 The two films were vying with The Descendants, Meek's Cutoff and Take Shelter in the best feature category. Meanwhile,Felicity Jones won breakthrough actorfor her role in Paramount Vantage's Like Crazy, a film about a British college student who falls for an American student (Anton Yelchin) only to be separated from him when she's banned from the U.S. after overstaying her visa. She beat out the likes of Elizabeth Olsen (Martha Marcy May Marlene), Harmony Santana (Gun Hill Road), Shailene Woodley (The Descendants) and Jacob Wysocki (Terri) to take home the award. Also competing in the ensemble category were the casts ofThe Descendants, Margin Call, Martha Marcy May MarleneandTake Shelter. Also during the ceremony, Pariah helmer Dee Rees was named breakthrough director for the Focus Features drama, which centers on a gay African-American teenager living in Brooklyn who struggles with coming out. Rees faced competition fromAnother Earth's Mike Cahill, Martha Marcy May Marlene's Sean Durkin, Higher Ground's Vera Farmiga and Bellflower's Evan Glodell in the category. Complete List of Gotham Awards Winners The best documentary award went to Better This World, about a pair of childhood friends from Texas who set out to prove themselves in the post-9/11 world. Katie Galloway and Kelly Duane de la Vega are the directors of the film, which was up against Bill Cunningham NY, Hell and Back Again, The Interrupters and The Woodmans. Meanwhile, Girlfriend won thefirst prize of the evening, the second annual Gotham Independent Film Audience Award. The movie, about a young man with Down's syndrome who romantically pursues a small-town single mom,beat outBuck, Being Elmo: A Puppeteer's Journey, The First Grader and Wild Horse, Wild Ride to win the award, which is voted upon online by moviegoers. THR's Directors Roundtable: How to Fire People, Who to Steal From, and Amy Pascal's Secret Advice Girlfriend is from director-producer Justin Lerner and producers Jerad Anderson, Kristina Lauren Anderson and Shaun O'Banion. Following a special tribute to Fox Filmed Entertainment co-chairman and co-CEOTom Rothman, the honor for best film not playing at a theater near you went to Scenes of a Crime, a true-crime documentary about a nearly 10-hour interrogation that culminated in a disputed confession. Blue Hadaegh and Grover Babcock accepted as the movie's directors and producers. New this year, the Independent Filmmaker Project also presented the inaugural Euphoria Calvin Klein Spotlight on Women Filmmakers "Live the Dream" grant, a $25,000 cash award for an alumnus of IFP's Independent Filmmaker Labs. The grant aims to further the careers of emerging women directors by supporting the completion, distribution and audience engagement strategies of their first feature film. THR's Writer Roundtable: 6 Top Scribes Talk Standing Up to Clint Eastwood, Dealing with Rewrites and Being Fired by Your Wife The award went to Lucy Mulloy, director of Una Noche. Presented by the IFP, the Gothams shine a spotlight on indie filmmakers and their work. Awards are to be given out in six competitive categories at the ceremony, held at Cipriani Wall Street. In addition to Rothman, career tributes also were presented toactors Charlize Theron and Gary Oldmanand director David Cronenberg. STORY:Gotham Awards Honorees Charlize Theron, Gary Oldman Reveal the Inspiration Behind Their Work Oliver Platt and Edie Falco hosted the ceremony. A complete list of winners can be found on the next page. PHOTO GALLERY: View Gallery Gotham Awards 2011: The Red Carpet Arrivals Related Topics Gotham Awards Charlize Theron David Cronenberg Gary Oldman The Tree of Life Terrence Malick Take Shelter Meek's Cutoff Alexander Payne Young Adult The Descendants Tom Rothman 1 2 next last

Bérénice Bejo on the The Artist, Sequel Futility and the Joys of Peppy Miller

Even Bérénice Bejo acknowledges there’s not a lot left to say about The Artist, the heavily acclaimed silent-film throwback that has been on the awards (and thus the media) warpath since debuting at Cannes last May. But the Argentine-born, French-raised actress also knows full well what a good problem that is to have — even it means wondering how to follow up the role of a lifetime. Written and directed by Bejo’s partner Michel Hazanavicius, The Artist features the 35-year-old actress as Peppy Miller, an upstart, unflappable young dancer whose chance encounter with silent-film icon George Valentin (Jean Dujardin) catapults her to the frontier of talkie stardom. As Peppy’s meteoric rise intersects with George’s precipitous collapse, the starlet invests herself increasingly in both the creative and romantic heritage of his fallen legend. Anchored in Peppy’s optimistic vision and resisted by George’s institutionalized vanity, their relationship mirrors the enduring conflict at the heart of Hollywood and sets up one of the more stirring screen climaxes of this or any year. It’s not what you’d call a breakout role — not for an actress who’s been working in film and TV since 1993 (including opposite Heath Ledger in 2001’s A Knight’s Tale) — but it is undoubtedly a milestone among milestones. Movieline spoke with Bejo about The Artist, struggling with perception, and how to move on from Peppy Miller. Am I the millionth journalist you’ve talked to since Cannes? Let’s get some balloons and confetti in here, maybe. Yeah, I don’t know how many it’s been. I should start counting. You know, I’ve asked both Michel and Jean if there’s anything they haven’t been asked about The Artist that they wish they had. Now it’s your turn: Does anything come to mind? I think I’ve said everything. I don’t know what to say anymore. I mean, there have been so many questions. I remember, at the beginning of the promotion, that I would go on for 15 minutes about Peppy Miller. I’m still very much in love with her, and I like so much being her that I could go on and go on. It was very weird: It was like she’s sitting next to you, or she’s your grandmother. She’s so alive. And they thought maybe I was crazy or something, which I’m totally not. I’m not one of those actors who, when they stop the movie, are still in character. But I really enjoyed being her, so I can talk about it. It’s OK! What was it that you loved so much about being her? She’s so cool! She’s always having so much fun with everything that’s happening, and she’s not calculating anything. She’s just grabbing everything that comes around her and turning everything into a positive. She trusts herself; she’s faithful. She’s great! You just want to go into the screen and say, “You’re so cool!” And it’s me! I’m acting this character. I felt very, very lucky. Knowing Michel as you do, what kind of influence did you have, if any, on shaping that character in the script or development phase — before you went in front of the camera? I remember reading the first script and saying to Michel, “I think there’s too much of her in newspapers and magazines and everything, and I think there’s one thing missing: Showing her differently.” That’s when he brought in the interview scene; before that there was no interview. And I think the interview scene is very important, because that’s the moment where Peppy could go the wrong way. She could just become a famous actress and forget that the most important thing is just to be a very good actor. And she’s going on and on, and she’s so sure of herself. And then George arrives, and she know she’s being dumb and arrogant, and she goes back to what she is really. This scene shapes her more — she’s not perfect, she’s like everybody. She has ups and downs. Sometimes you’re too arrogant, and that’s life. Sometimes you have to go back to who you are. I love this scene; it’s great to see her trying so hard to be this very famous actress. That was my first scene. The first scene you shot? Yeah. That was my audition, I felt: I had to be really good in that scene, because the crew and everybody might think I’m just the director’s wife. But I have to show them that I am an actor. I really needed to do it right so I am not the wife anymore. I am the lead girl. Did you sense that perception following you during production? No, I think I put the pressure on me. But at the same time I thought, “Hey, Jean didn’t do an audition either, and he’s there. So why would I?” It’s always a weird situation where people might think, “Oh — that’s the director’s wife.” But it’s such an ambitious film. Michel has to have people around him whom he’s comfortable with. That’s the best-case scenario for everyone, isn’t it? Yeah! But again: Nobody made me feel like that. I just thought about that myself. And I wanted to be so good for him because it was such an amazing movie. So I put myself in the position where I had to prove to everybody, “I’m good.” But after that, I forgot. He was the director, and I was the actress. And everything went very well. Did you have one moment in particular as the actress where it really hit you how well things were going? No. No. But wait… I knew the movie was going to be a good movie. You could feel it on set. You could feel everybody working. You could see it in the dailies: Everything was so right. You could see it in the costumes, the hair, the design, the frames… everything looked so beautiful. So I thought, “We’re doing something very good and very unique.” Then I saw the movie like six months later, and I was like, “Wow.” My mouth was open; I couldn’t believe what I was looking at. And I thought, “If people are sitting in the theater, I’m sure they’re going to enjoy it. But how are we going to make them come? How are we going to make them curious?” Because there are so many movies, and this is black and white and silent. So it was very important to promote the movie, and to talk about it. But I couldn’t expect anything like this, no. Viewing the film is definitely an unusual experience for a viewer. But how fundamentally different is it to act in a silent film? It’s the same. For me., it was exactly the same approach. I just had to find the character and embody the character and just be her. The challenge was more for Michel — to find a way of telling the story without the help of the dialogue. I can’t say, “I’m feeling really bad.” He has to show an image that says, “I’m feeling really bad.” Like when the picture of George Valentin is on the floor, and it’s raining, and people walk on his face, OK: You know he’s going down and nobody cares any more. That’s an image, and that’s Michel’s challenge. When people are stepping on your face, then you know you’re not a movie star anymore. People don’t care. Going back to your earlier comment about how fun it is to play Peppy, plus the way this film ends, I’m just going to throw this out there: A sequel. I don’t think so. Peppy could have a whole series of films — serialized, just like in the ’20s. We should— Yeah, I don’t think so. We would be disappointed anyway. This is a big surprise, and a sequel would just be a sequel. So no, I don’t think so. So you wouldn’t even want to do one? I don’t think it would be a good idea, no. I think we have to keep it at that. Just throwing it out there! I would love to do a sequel just for me, you know? But I don’t think it would be a good idea for the audience. I think everybody would be disappointed. Can you still dance? Yeah! It’s so phenomenal. And you hadn’t danced before? No. I started dancing in February 2010, and we shot the movie in September 2010. I still have the tapes of my very first days. I said to the dance teacher, Fabien Ruiz, “I’m going to tape that, because I don’t believe that one day I’ll be able to do something else. I just don’t think I’m going to make it; it’s impossible.” And you stand, and he’s like, “Shuffle… shuffle…” It’s so slow. And then suddenly it goes, “Do-do, do-do, do-do, do-do…” And it’s unbelievable how hard work just pays off. But it was really hard. Was that the hardest part of making The Artist? Yeah, I think so. It was the most challenging moment and the hardest part. I took dance lessons. I learned the Charleston. It was the hardest part — just to have an idea of how to really feel my body. The interview scene, when I go down the stairs and sit down, I remember Michel saying, “Just move your hips.” And that’s when I thought of my teacher, who taught me how to walk. I don’t know how to explain it, but she really gave me a sense of how important it is to feel really good with your body. And I think when you’re famous, and you walk into a room and everybody looks at you, it’s because of the way you are. And she taught me that, so I tried it in the restaurant. When you’re really sure of yourself, everybody notices. I had to learn that. Movement. Confidence. Posture. Exactly. That’s the word I want to use, but I don’t know it in English — the posture, the gesture. For Peppy, it was very important. Like at the very beginning, [the assistant choreographer] said, “Walk the room!” What? “Walk the room! Feel good! Walk as a model!” I was like, huh? I didn’t understand where she was going to. And then when I was on set, I said, “Thank you, Elodie Hec!” Because my body was right, and that’s something you can’t do with the director, and it’s something that I knew I needed to do. I called the producer and said, “I know I need a dance teacher.” My arms, my head… everything needs to be tight. It’s not just about tap dancing. What is next for you? I’m shooting a movie in France right now; I’m a little jet lagged. It’s a comedy. But I don’t know. It’s really hard after you do a film like The Artist to read other scripts and to feel curious and excited about a project, because this one is so unique. But then you say, “OK: This is my job, and I have to be curious. I have to give other people a chance to do something different.” Just because something is not as special as The Artist doesn’t mean it’s not going to be good. But I’m enjoying it. I’m pretty happy. Since The Artist, in France I have so many propositions — more than ever. I can really choose the best things. So for me it’s just happiness. All of it. Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitter.

REVIEW: The Artist's Greatness Speaks Louder Than Words

We rarely think of as great movies as breezy ones: Breeziness is supposedly only for disposable entertainment, though achieving filmmaking greatness in the way we normally think of it — with impressive sets, heavy-duty acting and ultra-polished cinematography — is probably easier than brushing a movie with just the right amount of gold dust. Michel Hazanavicius’s The Artist is a gold dust movie, a picture whose very boldness lies in its perceived lightness. This is a silent movie in black-and-white, and if it were only that, it would be a pleasant novelty. But The Artist isn’t a nostalgia trip, nor is it a scolding admonishment to honor the past. Instead, it’s a picture that romances its audience into watching in a new way — by, paradoxically, asking us to watch in an old way. The Artist is perhaps the most modern movie imaginable right now. The picture opens in 1927, just as silent-film star George Valentin — played by Jean Dujardin, a genuine movie star in France, though his allure is intercontinental — is riding high. As the movie opens, he’s watching himself in his latest picture from behind the movie screen; his character is a suave masked bandit in an evening suit, accompanied by an efficient Jack Russell who’s also his partner in crime in real life. (He’s played by a fetching actor dog named Uggie.) At home, George’s life is less glamorous and more troubled. His wife, played by a platinum-haired Penelope Ann Miller, is bored and unhappy and lets him know it, particularly when she sees a newspaper photograph in which he’s chastely kissing a comely young woman who wandered into the spotlight at his movie’s premiere. The woman in the newspaper snapshot is an aspiring starlet herself, and she uses her temporary fame — as well as her killer gams — to get a walk-on part in the movie George is filming. This salty-sweet ingenue wants the world to know who she is: “The name’s Peppy — Peppy Miller!” she announces to everyone and no one in particular. (She’s played by Argentina-born French actress Brnice Bejo, an expressive beauty with bobbed hair and incandescent eyes.) Even before George knows Peppy’s name, sparks fly between them on the set: We see it in a marvelous sequence constructed of numerous discarded takes, each one messed up by George’s flummoxed response to this pretty young extra. But George, a married man, resists. (This is a Hollywood movie we’re talking about, not the actual Hollywood.) And so Peppy reluctantly leaves him behind, but not before he gives her a priceless tip about how to make it in the business. Two years later, with the advent of talkies, George will end up broke and forgotten — though not completely forgotten: Peppy, whose star ascended just as George’s sank, remembers the break he gave her when she was just a pretty face and a great set of stems hoping to break into motion pictures. The Artist — which Hazanavicius also wrote — harbors shades of Singin’ in the Rain and A Star Is Born, but in the end it’s its own distinctive creature. It’s also an extraordinarily disciplined picture: Shot by Guillame Schiffman, it throws off a satiny moonlight glow — this is one of the most gorgeous-looking movies I’ve seen all year. Ludovic Bource’s jaunty, champagne-bubble score is period-perfect. And Hazanavicius — best known for the French-made OSS spoof movies — keeps a sure grip on the picture’s tone. The Artist dips into areas of darkness you don’t expect, though Hazanavicius has a light touch as he guides us through the story’s subtle gradations. He also dots the movie with clever touches that are never overworked or arch: George, after hearing that sound pictures are the wave of the future and laughing the news off heartily, lifts a glass from his dressing table and lets it down with a surprise thud — the first, though not the last, sound heard in the picture. It’s not giving too much away to tell you that The Artist ends with a dance sequence, and at that point I felt as if Hazanavicius had responded to the furtive prayers I’ve been offering to the movie gods for years: He renders that dance in long, glorious takes. No crazy cutting to make the steps look more exciting; no close-ups of the feet to show us how fast they’re moving. I had pretty much given up hope that filmmakers knew how to do that sort of thing anymore. Hazanavicius and his actors (which also include John Goodman as a growly-bear studio boss and Missi Pyle as a spoiled, brassy megastar) seem to be in tune with a lot of things that other filmmakers and performers have forgotten — or perhaps have been forced to forget, given what sells in Hollywood movies these days. (The Artist, incidentally, was itself shot in Hollywood.) Smart, quiet movies — let alone smart, silent ones — are hardly the order of the day. Many young people I know laugh at silent movies and silent acting, viewing them as something ancient and foreign, written in a code they can’t possibly understand. As the writer Eileen Whitfield observed in her wonderful biography of Mary Pickford, Pickford: The Woman Who Made Hollywood, modern audiences often view silent movies as if they’re trying to be talkies and failing, whereas they’re really much closer to dance, a symbolic re-enactment. In that sense, silents are stories told in purely visual terms — there are no handy voice-overs to accentuate what we’re seeing on-screen, no hefty chunks of expository dialogue. They may look strange and overdone to audiences who aren’t used to them, but they’re not extreme at all — they’re actually extremely economical. In Bejo and Dujardin, Hazanavicius has found actors who understand that intuitively. Bejo is radiant, but there’s also something solemn and grounded about her. And while Dujardin is almost criminally good-looking, as well as being a superb physical actor — he’s a little Douglas Fairbanks, a little Gene Kelly — he understands that his role demands as much gravity as anti-gravity. The Artist is deeply enjoyable, brioche-light in all the right ways, but it’s also focused and intense — even its joyousness is intense. It begins as a novelty and ends as so much more: In The Artist, the present greets the past like a long-lost friend. This is a movie in which the pleasure of watching is its own glorious sound. Editor’s note: Portions of this review appeared earlier in Stephanie Zacharek’s Cannes Film Festival coverage. Follow Stephanie Zacharek on Twitter. Follow Movieline on Twitter.

Jeremy London Searched for In Female friends Assault

First Released: November 19, 2011 2:26 PM EST Credit: WireImage PALM SPRINGS, Calif. -- Caption Jeremy London attends the Acura ZDX Redefines Next with seven-city pop-up exhibition tour event presented by Niche Medias La Private Magazine at W Hollywood on March 12, 2010Palm Springs shop dead theyre seeking actor Jeremy London for questioning after getting a call from his girlfriend alleging he attacked her. Sgt. Kyle Stjerne states the department received a phone call at about 10:30 a.m. Friday from Londons girlfriend, alleging the actor attacked her outdoors her Palm Springs home. Stjerne states a verbal altercation over custody of the children from the couples child grew to become violent and she or he experienced minor injuries. The womans title wasnt launched. Londons lawyer Catherine Lombardo refused accusations the abuse happened. Londons volatile relationship and addiction issues were broadcast to VH1 audiences throughout season four from the reality show Celebrity Rehab with Dr. Came Pinsky. Londons most memorable performances range from the slacker anti-hero lead role of TS Quint in Mallrats and roles on televisions seventh Paradise and Party of 5. Copyright 2011 through the Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Veteran NBC Executive Marc Graboff To Exit

The final top player in the Shaun Zucker regime at NBC is finished. Marc Graboff, a 11-year NBC veteran, is going to be departing the network. NBC chairman Bob Greenblatt broke this news to his staff within an email (below). Graboff have been continuously rising within the ranks at NBC, beginning off as mind of economic matters and ultimately becoming chairman of NBC Entertainment and Universal Media Galleries following a exit of Ben Silverman. But he'd began to feel because the odd guy out underneath the new network regime. Even his title was overlapping with this of NBC’s new chief, Bob Greenblatt, who's chairman of NBC Entertainment. managing the network and studio Universal TV. When, with Comcast’s blessing, Graboff was signed right into a new 3-year contract within the summer time of 2010, it appeared as if the brand new proprietors were depending on Graboff’s deep institutional understanding of NBC because he continues to be involved in most large choices in the network in the past decade and it has been the offer-maker leading all major discussions. (As a result, younger crowd knows where all of the physiques are hidden, many noted.) No timeline for Graboff’s exit continues to be set. Lest the rumor mill succeed people, I needed to allow everybody realize that Marc Graboff has made the decision to depart NBC following a lengthy tenure to be able to pursue a brand new chapter in the career. As I personally might have loved him to remain around with this new phase of NBC, I understand first-hands that feeling when you are ready to create a alternation in ones career. We havent quite determined time table for his exit nor can there be yet an agenda to replace him however i wanted you to definitely realize that this really is coming and imminent. You will find there's great business procedures team in position and so i dont anticipate missing a beat throughout this time around, however i think its reliable advice that Marc is going to be skipped by many people here. Hes been a fixture here throughout all of the management and possession changes throughout yesteryear ten many knowing by his professionalism, reliability , his attitude Is the correct hes a buddy to a lot of individuals too. He was enormously useful in my experience over yesteryear eleven several weeks and I wish to openly thank him for your. If anybody knows a method to make him change his mind, tell me. Within the meantime, please join me in saying thanks to Marc and wanting him the most effective because he moves onto this new journey within the year!

Before These Were Famous: Christian Serratos & Taylor Lautner

First Released: November 11, 2011 4:17 PM EST Credit: Getty Premium Caption Christian Serratos in 2002 (left) and Taylor Lautner in 2005 (right)La, Calif. -- In only days, the long awaited first area of the final The Twilight Saga journey starts, when Breaking Beginning Part 1 opens in theaters on November 18. While Christian Serratos and Taylor Lautner are celebrities now, there is a period when these were eco-friendly youngsters in Hollywood and Access Hollywood was there. In 2002, a college-aged Kristen was marketing her first large break playing Jodie Fosters daughter in Stress Room, and also the role only happened because she was prepared to take a risk. I requested my parents basically could like, give it a try and theyre like, You realize, theres lots of disappointment, you realize, theres lots of disappointments. Im like, I understand, nevertheless its worth an attempt, an infant-faced Kristen told Access at that time. They stated, OK. I was all so surprised after i even got '[The] Safety of Objects, after which when Stress Room arrived, its this type of huge movie, Im like, Woah! Robert got his career in Hollywood began just a little after Kristens, but his director in Harry Potter and also the Cup of Fire, Mike Newell, called him for large things, telling Entertainment Weekly at that time, the youthful guy may likely possess a large career in front of him. Hopefully, Robert smiled, when Access read him the quote. Exactly what the youthful guy was interested in in those days in 2005 was the wounds he received while focusing on the film. Id you need to be covered in cuts and bruises each day, and youd be covered in most this fake bloodstream too which means you didnt know whenever you were really bleeding, he chuckled. It had been quite difficult. To determine much more of Access Hollywoods early interviews with Kristen and Take advantage of, Click The Link. As well as for Access 2005 interview having a youthful Rachelle Lefervre, Click The Link. Copyright 2011 by NBC Universal, Corporation. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Madonna, Manager Respond to 'Give Me All Your Love' Single Leak

In response to the leak of a demo of Madonna's new single, "Give Me All Your Love," the diva says, "My true fans wouldn't do this." She said that to her manager, Guy Oseary, who took to his Twitter account (@guyoseary) Nov. 9 to address the leak.our editor recommendsMadonna's 'W.E.' Pushed to Feb. 3 Release After Awards-Qualifying Run On Nov. 8, two short snippets of "Give Me All Your Love," the alleged first single from Madonna's upcoming album, leaked to the web. A few hours later, the entire song materialized. PHOTOS: The Music Industry's Greatest Givers Oseary says "the plan was for new music to come out in the new year, and yet someone leaked a demo version of a song yesterday. I'm very happy with the positive reaction to the demo, but we are very upset with whoever leaked the song!!!" He went on to respond to questions from fans, saying that the album doesn't have a title, nor is it finished yet. "It should be done in the next month or so," he said. The set will be Madonna's first studio album since 2008's Hard Candy, which debuted at No. 1 on the Billboard 200 chart, selling 280,000 copies in its first week, according to Nielsen SoundScan. PHOTOS: MTV VMAs Greatest Feuds With Madonna, Courtney Love The new album will be her first studio release after leaving Warner Bros. Records and entering into an all-encompassing deal with Live Nation. Sources suggest the effort will find a home within the Universal Music Group in the United States, and likely at Interscope Records. Madonna's last release of any sort, the 2010 live record Sticky & Sweet Tour, was issued through Warner Bros., despite the diva having already departed the label. Her fellow Live Nation act, Jay-Z, released his last two studio sets via two different labels. 2009's The Blueprint was handled by Atlantic and distributed by WEA, while this year's Watch the Throne collaboration with Kanye West came out via Roc-a-Fella/Def Jam and Universal Music Group Distribution. PHOTOS: 20 Best and Worst Music to Movie Crossovers Oseary also confirmed that Madonna has written a ballad for the film W.E., which she directed and co-wrote. It is due for release in theaters on Dec. 9 in the United States. He didn't indicate that Madonna herself would be singing the tune, but it's presumed she will. Madonna and Oseary will be on hand at at the Roseland Ballroom on Saturday, Nov. 12, where Madonna will select the winner of a Smirnoff-sponsored dance contest. The victor will be named a member of her "dance crew" -- though what that prize entails hasn't been explicitly described. Related Topics Madonna

Herman Cain's Accusers Could Easily Get Together

Numerous Herman Cain's accusers might synergy in the presidential hopeful which has referred to as them liars.our editor recommendsHerman Cain Faces Reporters on Live TV and Confirms to Lie Detector Test (Video)Mike Tyson Cast as Herman Cain in Funny Or Die's Election Year Kick-off (Video)Fox News, MSNBC Decides Not to Broadcast Herman Cain's Accuser Press ConferenceHerman Cain Sexual Harassment Scandal: What Hollywood States Gloria Allred and Joel Bennett, lawyers for Sharon Bialek and Karen Kraushaar, correspondingly, mentioned Wednesday their customers might hold some pot press conference to counter what Cain mentioned within a press conference Tuesday. PHOTOS: 10 Hollywood Players That Will Really really make a difference inside the 2012 Elections Through the Tuesday event, Cain told reporters that accusations of sexual harassment flattened against him by 4 or 5 women are false, which he'd possess a lie detector test to prove his situation. Cain's press conference adopted one from Allred and her client Bialek, who was simply the initial lady to supply an thorough account from the products Cain allegedly did to her when he was running the country's Restaurant Association inside the the 19 nineties while she was employed there. STORY: Hermain Cain's Wife Cancels Interview With Fox News' Greta Van Susteren "Mr. Bennet's client suggested it, as well as the purpose should be to shed more light on Mr. Cain," Allred told The Hollywood Reporter when asked for in regards to the possiblity from the jont, public press conference. VIDEO: Herman Cain Declines Sexual Harassment Accusations on 'Jimmy Kimmel Live': 'We're By Using This Mind On' "My client want to complete one with Mr. Bennet's client, Karen, but we don't have a very starting time and date for the yet, which i don't know if the other women will probably be participating or else.In . Cain remains striking back hard against Bialek particularly since her press event with Allred. He referred to as her a "troubled lady" on Tuesday after which his agents organized on the internet Bialek's checkered financial and legal history to have the ability to deiscredit her accusations. STORY: Herman Cain Places blame Journalists for Sexual Harassment Drama "As Ms. Sharon Bialek has placed herself inside the public spotlight by looking into making patently false accusations against Herman Cain, it's just fair to check on her history alongside Mr. Cain's," it states at CainTruth.com, which lists six law suits Bialek will be a defendent in within the last 11 years. Related Subjects Politics Herman Cain

Miley Cyrus Is Dracula's Daughter

Aiding to operate Hotel TransylvaniaHaving Billy Ray Cyrus because the some guy ought to be with enough contentration (except when he's moulding you in to a world-famous and ultra-wealthy TV star), but Miley Cyrus' new screen father is a lot more embarrassing: she'll be voicing Dracula's daughter in Sony's animated Hotel Transylvania.The film is one of the famous count (Adam Sandler) controlling a resort for famous monsters, in the spying eyes and burning torches in the normal world. Dracula is extremely protective of his youthful girl Mavis, whose adventurous spirit he fears will need her from him. However he needs to handle Mavis taking a shine to have an "regular guy" who stumbles to the hotel. You probably know how it's: your carriage reduces in the thunderstorm, and there's a simple in the Dracula place...There is a little in the Munsters in regards to the normal-girl-living-among-monsters scenario, rather than somewhat Mad Monster Party generally. There's although some people might interesting voice talent working alongside Sandler and Cyrus: Steve Buscemi and Molly Shannon are playing werewolf couple Wayne and Wanda Cee Lo Eco-friendly is Murray the Mummy David Spade is Griffin the Invisible Guy Kevin James and Fran Drescher are Frankenstein's Monster and also the bride and David Koechner is Quasimodo. Jonathan the conventional guy is voiced by Andy Samberg.As well as the director might be the awesome Genndy Tartakovsky (Samurai Jack), despite the fact that CG animation will less than end up like his usual signature style. Have a look at Sony's reveal of Mavis Dracula below, for a perception of the film's look. Hotel Transylvania needs to be released in September 2012.

The Temple (Deool)

A Devisha Films production. Produced by Abhijeet Gholap. Executive producer, Nitin Prakash Vaidya. Directed by Umesh Vinayak Kulkarni. Script, Girish Pandurang Kulkarni.With: Nana Patekar, Dilip Prabhawalkar, Girish Kulkarni, Sonali Kulkarni, Kishor Kadam, Atisha Naik, Shrikant Yadav, Jyoti Subhash, Usha Nadkarni, Mohan Agashe. (Marathi dialogue)The qualifier "rising" forget about should be put in "helmer" when explaining Umesh Vinayak Kulkarni after "The Temple," the director's third and greatest feature so far. Since his debut, "The Wild Bull," Kulkarni's proven a desire to have the mistakes of village existence, but here he's honed his satire, retaining the humor while which causes it to be more biting. Skewering venality utilizing a tale from the simple cowherd whose vision from the deity turns the townspeople into mad providers, scripter Girish Pandurang Kulkarni occupies corruption from multiple angles yet keeps things from feeling preachy. An effective fest existence is assured. Local rollout is positioned for early November and could exceed the strong showing for "Wild Bull," adding towards the growing B.O. energy of Marathi photos lately. Stars like Sonali Kulkarni and Nana Patekar can help, plus a couple of production amounts fantastically built-in to the plot. Though things drag just a little toward the conclusion in the first hour, they get inside the partner, as well as the film features a palpable appeal despite an unnecessarily extended ending. When Kesha (Girish Kulkarni) features a think of the triple-figured god Dutta, the artless cowherd can't contain his excitement wiser males inside the village warn him to keep the vision to themselves, fearing ridicule or possibly a stampede, but it's too far gone. At first, little modifications within the city, where the latest TV cleaning cleaning soap takes priority over other things, however several males drunkenly propose a temple needs to be built. Gentle sage Anna (Dilip Prabhawalkar) remains concentrating on plans with local politico Bhau (Patekar) to create a hospital, but popular pressure pushes aside this vital improvement which he watches helplessly just like a sanctuary is made and travelers and pilgrims swamp the town. Bhau's a typical local politician, neither too corrupt nor too honest and completely beneath the thumb of his party superior, meaning he's doing things for political expedience rather than community enhancement. Money flows to the village coffers as well as the whole tenor of existence changes, with people values shifting as cynical opportunism and hypocrisy take hold. Kesha, the man who had the vision, is essentially forgotten, as well as the sacred cow can get sick and dies, with only the easy cowherd to mourn. For the pic's enormous credit, rural existence just before the temple isn't some Edenic existence: there's poverty, a primitive infrastructure and superstition. The helmer doesn't reason why modernity is itself corrupting, but rather what it's integrated, in order the approaching of electricity needs to be a pressure permanently, its implementation reduces community ties and erodes social relations. The fad of consumerism replaces genuine spiritual feeling, resulting in residents wired for the outdoors world but stop from each other, advised by energy-hungry politicos together with a yellow press only considering sensationalism. The pic leavens things with warmth and humor without weakening the pointed critique. Thesping is globally strong, especially Patekar and Sonali Kulkarni as his wife (not their initial moment an onscreen couple) their playful relationship and strong sexual chemistry add an unforeseen amount of closeness. Lensing by Sudhakar Reddy is topnotch, with special attention paid out to landscape as well as the village's isolation. The Two production amounts, both appealing tunes, are organically incorporated, evolving sarcasm and satirizing celebrity culture. Opening credits, from the submit silhouette making sand designs on backlit glass, are lovely.Camera (color, widescreen), Sudhakar Reddy editor, Abhijeet Deshpande music, Mangesh Dhakde production designer, Prashant Bidkar appear, Anthony B.J. Ruben assistant director, Vikrant Pawar. Examined at Abu Dhabi Film Festival (Showcase), March. 18, 2011 (Also in Busan Film Festival -- A Window on Asian Cinema). Running time: 145 MIN. Contact the number newsroom at news@variety.com