Academy Considers Moving Oscars From Kodak Theatre

‘The group that puts on the Academy Awards is mulling a plan to move the most famous event in show business from its longtime home, The Hollywood Reporter has learned.
After nearly a decade at the Kodak Theatre in Hollywood, last week the Academy of Motion Picture Arts & Sciences exercised a clause in its contract and notified the CIM Group, which owns the venue, that it may move the Oscars elsewhere after the 2013 show.

“Our plan right now is to exercise this [option] and then see what happens, what goes on. We’re open,” Tom Sherak, president of the Academy, tells THR in an interview. “Personally, I love the Kodak. I’ll say that until I’m blue in the face. I’ve been there since the very beginning. But in the next year the Kodak and others will come to us and the [Academy] board will make a decision at some point.”

The Oscars have been held at the Kodak since 2002 but the Academy’s long-term contract with the venue includes an “out” clause after ten years.’

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The Paperboy Poster

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‘Dark Knight Rises’: Christopher Nolan opens up about Bane choice

‘There’s nothing sentimental or soft about Gotham City, and that seems to suit Christopher Nolan just fine. The 41-year-old filmmaker fills the screen with grim architecture, hard-luck faces and gun-metal hues; tricks of the mind are his narrative specialty, not affairs of the heart. Still, last Thursday, eating his dinner standing up in a movie theater lobby, Nolan confessed that even he got a bit misty during the final shooting days of “The Dark Knight Rises,” which is (by all appearances) his final visit to the world of Batman.

“I tend not to be too emotional on the set, I find that doesn’t help me do my job,” the writer-director said between bites. “But you definitely get a little lump in your throat thinking that, ‘OK, this is going to be the last time we’re going to be doing this.’ It’s been quite a journey. Hopefully, reflecting that journey — by all of us who made the films — in the three films together will make it so they have a real span to them, some real heft.”’

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Anne Hathaway Says Hedy Lamarr Inspired Her Take On Catwoman In ‘The Dark Knight Rises’

‘Beautiful, smart and dangerous. While those are words that could be used to describe Selina Kyle aka Catwoman, portrayed by Anne Hathaway in Christopher Nolan’s upcoming “The Dark Knight Rises.” But they could also be used to describe Golden Age actress Hedy Lamarr, who in addition to being a stunning beauty, was also something of a genius, whose invention of the speed spectrum radio paved the way for the digital technology we know now (seriously, and you can read more about her various innovations in the new book “Hedy’s Folly: The Life and Breakthrough Inventions of Hedy Lamarr, the Most Beautiful Woman in the World”). But before any of these things became known, Lamarr stripped off and became famous in Gustav Machatý’s notorious, nudity filled “Ecstasy” and it was in that film that Hathaway found the genesis for Catwoman. But not because of the skin.
“I know this sounds odd, but her breathing is extraordinary,” Hathaway told Hero Complex in a new interview. “She takes these long, deep, languid breaths and exhales slowly. There’s a shot of her in [the 1933 film] ‘Ecstasy’ exhaling a cigarette and I took probably five breaths during her one exhale. So I started working on my breathing a lot.”

But for director Christopher Nolan, it was plain old fashioned skill that made him believe that Hathaway was the right person to take on the role first embodied by Earth Kitt and later revitalized by Michelle Pfeiffer.

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Scene of the Week: My Cousin Vinny

Check out this excellent scene from My Cousin Vinny

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The Devil Inside Poster

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7 Classic Movies You Didn’t Know Were Rip-Offs

#7. Pirates of the Caribbean Is Suspiciously Similar to the Game The Secret of Monkey Island

This seems like a really obvious one: Everyone knows the Pirates of the Caribbean movies are a combination of the Disney ride and Johnny Depp channeling the ghost of a pre-dead Keith Richards.

PopCrunch
Which fled from his body sometime in the mid ’70s, leaving it an empty husk of decaying meat.

Except the Disney attraction has as much of a story line as a bad night at a gay bar — basically you’re going around in a boat while drunk robot pirates dance and sing around you. It’s more of an acid trip than a narrative. So where did they get the rest of the story?

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The Artist Movie Review by Roger Ebert

‘Is it possible to forget that “The Artist” is a silent film in black and white, and simply focus on it as a movie? No? That’s what people seem to zero in on. They cannot imagine themselves seeing such a thing. At a sneak preview screening here, a few audience members actually walked out, saying they didn’t like silent films. I was reminded of the time a reader called me to ask about an Ingmar Bergman film. “I think it’s the best film of the year,” I said. “Oh,” she said, “that doesn’t sound like anything we’d like to see.”

Here is one of the most entertaining films in many a moon, a film that charms because of its story, its performances and because of the sly way it plays with being silent and black and white. “The Artist” knows you’re aware it’s silent and kids you about it. Not that it’s entirely silent, of course; like all silent films were, it’s accompanied by music. You know — like in a regular movie when nobody’s talking?

One of its inspirations was probably “Singin’ in the Rain,” a classic about a silent actress whose squeaky voice didn’t work in talkies and about the perky little unknown actress who made it big because hers did.

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A Separation Official Trailer

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In Darkness Official Trailer

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The Grey Official Trailer

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Prometheus Official Trailer

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Brad Bird Talks Ghost Protocol and Making Great Movies

Wired.com: Your live-action debut was going to be 1906, so how did you get involved with Ghost Protocol?

Brad Bird: It’s just one of those happy coincidences of timing. I was working on 1906 right afterRatatouille, when suddenly I looked up and a couple of years had gone by. I was still wrestling with story problems, and didn’t want the rest of my career to read, “He worked on 1906.” I wanted to actually make something. So I set 1906 aside and started looking around for films that were already in motion. Michael Giacchino — who not only created the score for Ghost Protocol but also my previous two films,Ratatouille and The Incredibles, and had also worked with J.J. Abrams on LostStar Trek and the lastMission: Impossible film — and I were having lunch at Bad Robot when J.J. walked by and asked me what I was doing. I told him I was just looking around, and that night he sent me a text that just said, “Mission?” It was just one of those things that happened at the right time. It was also a chance to work with both J.J.

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Wanderlust Poster

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War Horse Movie Review by Roger Ebert

‘The closing shots of Steven Spielberg’s “War Horse” will stir emotions in every serious movie lover. The sky is painted with a deeply red-orange sunset. A lone rider is seen far away on the horizon. The rider approaches and dismounts. He embraces a woman and a man. They all embrace the horse’s head. Music swells. This footage, with the rich colors and dramatic framing on what is either a soundstage or intended to look like one, could come directly from a John Ford Western.

It is Spielberg’s homage, I believe, to Ford and to a Hollywood tradition of broad, uplifting movies intended for all audiences. The performances and production values throughout the film honor that tradition. “War Horse” is bold, not afraid of sentiment and lets out all the stops in magnificently staged action sequences. Its characters are clearly defined and strongly played by charismatic actors. Its message is a universal one, about the horror of war in which men and animals suffer and die, but for the animals there is no reason: They have cast their lot with men who have betrayed them.

The movie, based on a best-selling novel and a long-running London and New York stage production, begins on a small family farm in the English county of Devon.

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