Alice St. Clair Plays Kate Middletonand Finds Herself in Wonderland

Alice St. Clair Plays Kate Middletonand Finds Herself in Wonderland By Dany Margolies August 26, 2011 Alice St. Clair How does a passion for New York lead to playing a quintessential English duchess? Through the perseverance and luck of the actor in question, of course. Alice St. Clair stars this week as Kate Middleton in Hallmark Channel's "William and Catherine: A Royal Romance." We'd like to believe two years of studying at The New York Conservatory for Dramatic Arts made the British-born-and-bred St. Clair standout at the auditions. But her pertness, openness, and resemblance to the Duchess of Cambridge didn't hurt.While in her mid-teens, St. Clair vacationed in New York City with her family and, as she says, "fell in love with it." She had also appeared as an extra in "The Da Vinci Code" when the film shot in her family's home in Scotland and became smitten with acting. So she applied to and was offered a scholarship at the New York conservatory.Her first role after graduation has come with the making of the TV movie about the newest royal couple. Co-written (with Christopher Momenee) and directed by Linda Yellen, the project stars Jane Alexander as the queen, Victor Garber as Charles, Jean Smart as Camilla, and Dan Amboyer as William. Back Stage: What did you remember from the conservatory that came back to you while making your first film? Alice St. Clair: We had a class in Meisner, all those repetitions, and the whole time in class we'd all be sitting there like, "What the hell is going on?" You're just sort of repeating, "You're wearing a blue scarf." We carried on doing that, and the teacher was great; it was just that I didn't quite get it. And then I worked on it more and more, and it wasn't until I did this film that it all clicked into place. I realized it's just about saying something and letting it affect the person you're saying it to, and then seeing how what you say affects them, and then changing the other person from that. And really, that's what we do every day, but it didn't click until I was opposite Dan [Amboyer], and I was like, "Oh, this is what it is. It's simple." Back Stage: How did you land representation? St. Clair: I finished my first year, and I was doing internship for a casting director, Lina Todd. Lina took me to the Hamptons [International] Film Festival as her assistant. My job was looking after the rising stars. And that's where I met Mike [Gasparro], my manager. He [was managing] one of the actors. So I would have to look after them, get them to the different places at the right times. I don't know how he worked it out, but he'd got that I wanted to be an actress, and he just said, "Look, here's my card. Give me a call when you're back in the city. Mike is with TMT [Entertainment Group]. I have another manager called Tina Thor, as well. They're the reason I'm here. They auditioned me; they watched my work. But I decided to go back to school for the final year. Mike really respected that and said, "Go back and please call us when you finish." I did. I didn't speak to him for a year, and then I called him when I finished and went through the audition process. It was definitely a good thing to have waited. They set me up with a couple of meetings with agents, and Kyetay Beckner at The Gersh Agency and I got on.Back Stage: Did you audition for the role of Kate? St. Clair: I had my first audition with [casting director] Lynn [Kressel]. I think I went on tape first, and they obviously sent it to Linda [Yellin], and then I heard back that she liked it and wanted to see me again, so I came in again and did [an audition] with Lynn and Linda. I did a couple more, and [Linda] sort of directed me, and then my final one was a chemistry audition. It was at that point I slightly thought, "Oh, my God, I might have this," because I came back and there was like six or seven boys, and I was the only girl. I still didn't believeyou know you never dobut I was "Hmm, no competition here." That's when I first met Dan.Back Stage: How was the chemistry read? Could you tell who was the right fit? St. Clair: I could tell. It was a really interesting thing. All the other boys were great in their own ways, but first of all I didn't feel like they were Williams, at all, which is funny because a lot of them were English and [Dan] is American. The chemistry was great, but there was different chemistry with all of us. But for me, I think [Dan] was absolutely the right choice. And actually, one of the boys I auditioned with [Sebastian Beacon] ended up playing Duncan, William's best friend, because he was great but he just wasn't William. Back Stage: Did anyone discuss the actors after they left the room? St. Clair: They didn't say anything in front of me. But it was really exciting because I got to see all of the different ways different people did it. To see how everyone had done a good job but in a different way, it was really interesting.Back Stage: Why do you think you were cast? St. Clair: I tried to think of her not as Kate, just this girl falling in love. I later found out from Linda that what I did which the other girls didn't was [play] the younger Kate, the youthfulness, the sort of innocence. The other girls might have suited the later Kate. Back Stage: What did you do to work on the role? St. Clair: From the time I knew I got the part, I worked with this acting coach, Alan Savage, who's the most wonderful manI just get him, and he gets me, and it's an amazing thing to have found himso he's someone I would go to and we'd discuss it. Back Stage: So you board the airplane for your location shooting in Romania. It's like Catherine waking up the morning of her wedding and preparing to walk into Westminster Abbey. How do you put one foot in front of the other? St. Clair: I was so excited. I felt so ready. I think that was the massive part of it: I wanted this so long. I wasn't too nervous, because I knew it was a safe place I was going; I really trusted Linda. I got hair extensions about two days before I flew. Once they got on, I was like, "I can do this." And then of course having Dan there was very helpful. He was relatively new to it, too, so we could talk about our feelings of nervousness. Back Stage: You worked with several of America's great actors: Jane Alexander, Victor Garber, Jean Smart. What did you observe of their work habits? What did you learn from them? St. Clair: So much. There's a sense of real professionalism. They were always there, on timethere was no complaining at all. They seemed to really enjoy what they were doing. They really loved it. If there were scenes where we had to do more takes than you might think one needs, no one got frustrated. They were very, very inspiring. VictorI know from Danhe called up Dan a few weeks before they went and said, "Look, I'm going to be playing your father. Would you like to have coffee, and we can meet?" They got to know each other, so they got this relationship before they came. That was really nice of him to have done that. It made Dan feel very comfortable when he got there. I know they've remained close. I had a couple of scenes with Jane, and she was so lovely to me, encouraging"You're doing such a great job" made me feel very at ease. Back Stage: How hard was ADR for you? St. Clair: I found it so hard. You're supposed to re-create the same energy levels. One of the scenes I did ADR for, which is the paparazzi have just chased me and I'm deciding whether I should call William or not, takes a lot to get into. So doing [ADR] is a challenge. But I guess you really learn as you go. Now I realize it's just another part of the process of the film, and it has to be done. Back Stage: Is the hardest part the synchronization or the energy? St. Clair: The energy. The timing was hard, too, but the energygetting back into that exact place. When you say goodbye to a character, it's all over, and then you have to get back into her head space. It's quite tricky. Hopefully I did it. Back Stage: Did you work on your continuity? St. Clair: Actually, I found it so much less hard than I thought I would. In class at school, one of the things they would try and teach usand that's one of the reasons I chose this schoolthey do a lot of on-camera work. But obviously to exaggerate the exercise, they had us do a scene where there was so much going on. So I kind of had prepared that it was going to be like that. And actually you've got this wonderful script supervisor watching out for you. And so, really, if anything had gone massively wrong, she would have come in and said. I felt like when you do a scene and you do something, you do it for a reason, so it's almost easier to do it again. Back Stage: Kate is very athletic. Were you called upon to cycle and ski? St. Clair: Yeah, we had a cycling scene. And we were going to have a swimming scene, and I was really excited about it, and I joined up the YMCA, and I was swimming every day. And it actually got cut. But we had a football scenesoccer scenewhich I had great fun with, because I quite like sports and I'm quite competitive, and I used to play with my brothers. Back Stage: Did you tell Lynn and Linda you were good at sports when you auditioned? St. Clair: I didn't actually. Nearer the time, we had someone inquire, "Can you ride a bike?" and I said, "Yes." And then, "Can you play soccer?" and I said, "Not particularly, but I'm so up for giving it a shot," and I sort of went for it. I just basically had to try to keep the ball away from William. I loved it. But we'll see how it comes out. "William and Catherine: A Royal Romance" premieres Aug. 27 on Hallmark Channel. Alice St. Clair Plays Kate Middletonand Finds Herself in Wonderland By Dany Margolies August 26, 2011 Alice St. Clair How does a passion for New York lead to playing a quintessential English duchess? Through the perseverance and luck of the actor in question, of course. Alice St. Clair stars this week as Kate Middleton in Hallmark Channel's "William and Catherine: A Royal Romance." We'd like to believe two years of studying at The New York Conservatory for Dramatic Arts made the British-born-and-bred St. Clair standout at the auditions. But her pertness, openness, and resemblance to the Duchess of Cambridge didn't hurt.While in her mid-teens, St. Clair vacationed in New York City with her family and, as she says, "fell in love with it." She had also appeared as an extra in "The Da Vinci Code" when the film shot in her family's home in Scotland and became smitten with acting. So she applied to and was offered a scholarship at the New York conservatory.Her first role after graduation has come with the making of the TV movie about the newest royal couple. Co-written (with Christopher Momenee) and directed by Linda Yellen, the project stars Jane Alexander as the queen, Victor Garber as Charles, Jean Smart as Camilla, and Dan Amboyer as William. Back Stage: What did you remember from the conservatory that came back to you while making your first film? Alice St. Clair: We had a class in Meisner, all those repetitions, and the whole time in class we'd all be sitting there like, "What the hell is going on?" You're just sort of repeating, "You're wearing a blue scarf." We carried on doing that, and the teacher was great; it was just that I didn't quite get it. And then I worked on it more and more, and it wasn't until I did this film that it all clicked into place. I realized it's just about saying something and letting it affect the person you're saying it to, and then seeing how what you say affects them, and then changing the other person from that. And really, that's what we do every day, but it didn't click until I was opposite Dan [Amboyer], and I was like, "Oh, this is what it is. It's simple." Back Stage: How did you land representation? St. Clair: I finished my first year, and I was doing internship for a casting director, Lina Todd. Lina took me to the Hamptons [International] Film Festival as her assistant. My job was looking after the rising stars. And that's where I met Mike [Gasparro], my manager. He [was managing] one of the actors. So I would have to look after them, get them to the different places at the right times. I don't know how he worked it out, but he'd got that I wanted to be an actress, and he just said, "Look, here's my card. Give me a call when you're back in the city. Mike is with TMT [Entertainment Group]. I have another manager called Tina Thor, as well. They're the reason I'm here. They auditioned me; they watched my work. But I decided to go back to school for the final year. Mike really respected that and said, "Go back and please call us when you finish." I did. I didn't speak to him for a year, and then I called him when I finished and went through the audition process. It was definitely a good thing to have waited. They set me up with a couple of meetings with agents, and Kyetay Beckner at The Gersh Agency and I got on.Back Stage: Did you audition for the role of Kate? St. Clair: I had my first audition with [casting director] Lynn [Kressel]. I think I went on tape first, and they obviously sent it to Linda [Yellin], and then I heard back that she liked it and wanted to see me again, so I came in again and did [an audition] with Lynn and Linda. I did a couple more, and [Linda] sort of directed me, and then my final one was a chemistry audition. It was at that point I slightly thought, "Oh, my God, I might have this," because I came back and there was like six or seven boys, and I was the only girl. I still didn't believeyou know you never dobut I was "Hmm, no competition here." That's when I first met Dan.Back Stage: How was the chemistry read? Could you tell who was the right fit? St. Clair: I could tell. It was a really interesting thing. All the other boys were great in their own ways, but first of all I didn't feel like they were Williams, at all, which is funny because a lot of them were English and [Dan] is American. The chemistry was great, but there was different chemistry with all of us. But for me, I think [Dan] was absolutely the right choice. And actually, one of the boys I auditioned with [Sebastian Beacon] ended up playing Duncan, William's best friend, because he was great but he just wasn't William. Back Stage: Did anyone discuss the actors after they left the room? St. Clair: They didn't say anything in front of me. But it was really exciting because I got to see all of the different ways different people did it. To see how everyone had done a good job but in a different way, it was really interesting.Back Stage: Why do you think you were cast? St. Clair: I tried to think of her not as Kate, just this girl falling in love. I later found out from Linda that what I did which the other girls didn't was [play] the younger Kate, the youthfulness, the sort of innocence. The other girls might have suited the later Kate. Back Stage: What did you do to work on the role? St. Clair: From the time I knew I got the part, I worked with this acting coach, Alan Savage, who's the most wonderful manI just get him, and he gets me, and it's an amazing thing to have found himso he's someone I would go to and we'd discuss it. Back Stage: So you board the airplane for your location shooting in Romania. It's like Catherine waking up the morning of her wedding and preparing to walk into Westminster Abbey. How do you put one foot in front of the other? St. Clair: I was so excited. I felt so ready. I think that was the massive part of it: I wanted this so long. I wasn't too nervous, because I knew it was a safe place I was going; I really trusted Linda. I got hair extensions about two days before I flew. Once they got on, I was like, "I can do this." And then of course having Dan there was very helpful. He was relatively new to it, too, so we could talk about our feelings of nervousness. Back Stage: You worked with several of America's great actors: Jane Alexander, Victor Garber, Jean Smart. What did you observe of their work habits? What did you learn from them? St. Clair: So much. There's a sense of real professionalism. They were always there, on timethere was no complaining at all. They seemed to really enjoy what they were doing. They really loved it. If there were scenes where we had to do more takes than you might think one needs, no one got frustrated. They were very, very inspiring. VictorI know from Danhe called up Dan a few weeks before they went and said, "Look, I'm going to be playing your father. Would you like to have coffee, and we can meet?" They got to know each other, so they got this relationship before they came. That was really nice of him to have done that. It made Dan feel very comfortable when he got there. I know they've remained close. I had a couple of scenes with Jane, and she was so lovely to me, encouraging"You're doing such a great job" made me feel very at ease. Back Stage: How hard was ADR for you? St. Clair: I found it so hard. You're supposed to re-create the same energy levels. One of the scenes I did ADR for, which is the paparazzi have just chased me and I'm deciding whether I should call William or not, takes a lot to get into. So doing [ADR] is a challenge. But I guess you really learn as you go. Now I realize it's just another part of the process of the film, and it has to be done. Back Stage: Is the hardest part the synchronization or the energy? St. Clair: The energy. The timing was hard, too, but the energygetting back into that exact place. When you say goodbye to a character, it's all over, and then you have to get back into her head space. It's quite tricky. Hopefully I did it. Back Stage: Did you work on your continuity? St. Clair: Actually, I found it so much less hard than I thought I would. In class at school, one of the things they would try and teach usand that's one of the reasons I chose this schoolthey do a lot of on-camera work. But obviously to exaggerate the exercise, they had us do a scene where there was so much going on. So I kind of had prepared that it was going to be like that. And actually you've got this wonderful script supervisor watching out for you. And so, really, if anything had gone massively wrong, she would have come in and said. I felt like when you do a scene and you do something, you do it for a reason, so it's almost easier to do it again. Back Stage: Kate is very athletic. Were you called upon to cycle and ski? St. Clair: Yeah, we had a cycling scene. And we were going to have a swimming scene, and I was really excited about it, and I joined up the YMCA, and I was swimming every day. And it actually got cut. But we had a football scenesoccer scenewhich I had great fun with, because I quite like sports and I'm quite competitive, and I used to play with my brothers. Back Stage: Did you tell Lynn and Linda you were good at sports when you auditioned? St. Clair: I didn't actually. Nearer the time, we had someone inquire, "Can you ride a bike?" and I said, "Yes." And then, "Can you play soccer?" and I said, "Not particularly, but I'm so up for giving it a shot," and I sort of went for it. I just basically had to try to keep the ball away from William. I loved it. But we'll see how it comes out. "William and Catherine: A Royal Romance" premieres Aug. 27 on Hallmark Channel.

Constantin Film eyes global prize

'Resident Evil: Afterlife' re-energized the franchise this past year and came a lot of money in the box office. Another within the series is about the slate.'Vicky and also the Treasure from the Gods'Having elevated the bar substantially with "Resident Evil: Afterlife" and "The 3 Musketeers," Constantin Film has set its sights on global success without moving away from its domestic market.It had been the vision of their late founder and former chief professional Bernd Eichinger, who died captured, that led the business's growth in excess of 3 decades, which makes it Germany's leading production group. That vision and enthusiasm for spectacle and story, drama and adventure, is constantly on the define the group.The business's approaching production slate includes "The Poison Kitchen," a well known fact-based historic thriller by Robert Schwentke ("R.I.P.D.") that traces an upswing of Nazism with the eyes of crusading journalists Scott Charles Stewart's fantasy adventure "The Mortal Instruments" along with a CGI-animated version of "Tarzan."About the worldwide front, Constantin has a winning team in Martin Moszkowicz, Constantin's mind of film and tv and progressively the face area of the organization producer Robert Kulzer, mind of Constantin's L.A. office star director Paul W.S. Anderson and producer Jeremy Bolt. Together they not just elevated the "Resident Evil" franchise with last year's "Resident Evil: Afterlife," additionally they created Constantin's greatest moneymaker up to now.The 4 teamed on "The 3 Musketeers," that is on the right track to become another stellar hit for the organization, and therefore are focusing on a fifth "Resident Evil" installment with Anderson again pointing. Next, they'll tackle their greatest project yet, "Pompeii," an authentic story occur the traditional Roman city throughout the catastrophic Vesuvius eruption.Constantin has possessed a big part stake in Anderson and Bolt's L.A.-based Impact Pictures for over a decade, and Moszkowicz is happy to have the director in the fold."I'm very proud that people were effective in getting Paul into the pointing chair for 'Resident Evil 4' -- that has now get to be the most effective film in Constantin's history -- and subsequently 'The Three Musketeers' -- the very first film he has directed which has emerge from the Impact development slate. Whenever we joined in to the partnership with Paul and Jeremy we always imagined that Impact would produce movies that Paul directs, which means this is a plan within the working and it is now a real possibility.Inch Although of Constantin's earlier British-language films were rather more Eurocentric, Moszkowicz states the organization is "now focusing on a far more worldwide audience. You want to enhance our profile much more if this involves the U.S. domestic market along with the huge emerging marketplaces worldwide."Constantin is fast-monitoring "The Poison Kitchen," which follows the Munich Publish newspaper and it is campaign in excess of ten years against Hitler until it had been finally shut lower through the Nazis following their rise to energy. Matthew Sand ("Ninja Assassin") is penning the British-language pic, that is set to shoot the coming year with Kulzer and Margo Klewans creating.Also starting production later this season or early 2012 is "The Mortal Instruments," toplining Lily Collins and Jamie Campbell Bower, which Kulzer is creating with Unique Features partners Robert Shaye and Michael Lynne Moszkowicz and Unique's Dylan Retailers are professional creating.Constantin likewise remains aboard with Fox's approaching reboot of "The Great Four."While the organization has set its sights about the global market, it's not forget about its German roots. Among Constantin's large approaching projects is definitely an British-language adaptation of Karl May's "Winnetou," a German-language classic from the American West that created several books.Greatly popular in Germany, the books inspired a number of films within the sixties that starred Frenchman Pierre Brice because the Apache hero Winnetou and American Lex Barker as his faithful pale-faced companion, Old Shatterhand.Constantin has drawn on "Dances With Baby wolves" scribe Michael Blake to pen the brand new film, which would be to get into production the coming year, possibly in New Mexico with Kulzer creating and Moszkowicz professional creating.Constantin has always showed a predilection for pulp. Consistent with that tradition, Reinhard Klooss, mind of Constantin's animation division, is presently creating and pointing "Tarzan," a CGI-animated three dimensional version from the Edgar Grain Burroughs classic with different script by Klooss and Jessica Postigo, who also done "The Mortal Instruments."With what executives call a coup, Constantin handled to leap about the animation privileges, which in fact had been held by Disney, whenever a short window opened up. (Warner Bros. supports the live-action film privileges). Constantin's version is a contemporary story concentrating on a teenage Tarzan and promising "a far more testosterone-driven method of the franchise" than continues to be observed in animated versions. While it's not obvious when the film is going to be PG, Moszkowicz states it'll certainly be targeted in a "slightly older audience" and "support the spirit of Burroughs' novel while taking it into modern occasions." "Tarzan" follows Klooss and Holger Tappe's 2010 hit toon pic "Creatures U . s .," that has become this kind of worldwide success that Constantin is thinking about a follow up. Additionally, the organization is developing the tyke property "Die olchis," in line with the greatly popular children's books by Erhard Dietl.Constantin is for certain to illuminate the September box office with "The 3 Musketeers" and Christian Ditter's tyke Viking actioner "Vicky and also the Treasure from the Gods," a follow-as much as its 2009 hit "Vicky the Viking."It's not only action, adventure and animation, however. Constantin remains just like committed as always towards the domestic market and German film. It features a slew of adult-skewed dramas within the works, including "Schweigeminute" (Stella), an adaptation of Siefried Lenz's bestseller (released within the U.S. as "Stella") written and directed by Andreas Dresen, who won the 2010 Cannes Not Certain Regard sidebar with "Stopped on the right track.Inch Created by Constantin's Oliver Berben, pic involves an appreciation affair between an 18-year-old and the British teacher throughout a summer time on Germany's Baltic coast within the sixties.Berben can also be creating Doris Doerrie's "Glueck" (Bliss), with different short story by author and Berlin defense attorney Ferdinand von Schirach in regards to a youthful prostitute whose existence will get complicated whenever a customer dies in her own flat Celluloid Dreams is handling world sales for that pic.Sherry Hormann ("Desert Flower"), meanwhile, is placed to direct "Kampusch," the harrowing true story of the youthful Austrian kidnap victim, which Moszkowicz is creating. Hormann inherited the project from Eichinger, who had been focusing on the script when he died of heart disease in The month of january. Production is placed to start the coming year. Contact Erectile dysfunction Meza at erectile dysfunction.meza@mannaa.de

REVIEW: Zoe Saldana, Colombiana Impress With Crisp, Eye-Popping Action

Shamelessly entertaining when it’s not just silly, Colombiana begins with a young girl trading one shady underworld for another. The first is that of Bogot in 1992, where a deal between two heavies is going so well it can only mean someone’s about to die. That someone is the father of Cataleya (Amandla Stenberg), a schoolgirl who absorbs her father’s goodbye — a speech of family loyalty and legacy so archetypal Al Pacino mutters fragments of it in his sleep — with unblinking shock. “In this world,” an enemy henchman (Jordi Moll) tells her as her parents lay dead, “Smart girls always get what they want.” With that Cataleya’s trance is broken, and a stabbing followed by a spectacular foot chase announces her transformation into a pint-sized badass. The shadow announcement made by that sequence is that “this world” is the brainchild co-writer (with Robert Mark Kamen) and producer Luc Besson. “Vengeance is beautiful,” is Colombiana’s tagline, though it may not be smart, or even particularly specific. The vague provenance of the microchip that Cataleya winds up barfing onto an American embassy desk is part of the film’s passing acknowledgement of everything that is not the body of the adult Cataleya (Zoe Saldana) in head-cracking, lipstick-signing motion. Having slipped the Feds, the orphaned Cataleya buses it to Chicago, where her murderer-for-hire uncle Emilio (Cliff Curtis) lives. When she tells him that she wants to study guns, not geometry, Emilio fires a few frustrated rounds into a playground. The audacity! How could a mere child get the fact that working through one’s grief (Emilio’s son was also killed) by becoming a vengeful assassin means “you have to learn to understand how to be psychological”? And stuff? All you really have to learn to understand about the skills of the grown-up Cataleya is that she has earned the trophy of elite female assassins all over the world: Michael Vartan. By day, Cataleya kills for money — Ponzi schemers and such — but she moonlights as a mortal debt collector, picking off members of the Colombian cartel who killed her parents, one by one. Barefoot and crafty, she savors the elaborate daring of getting booked into a prison just to get a clear shot at a mark being held there overnight. In catsuits, swimsuits, and skimpy underthings, Saldana is as potently elusive as a shadow can be. Cataleya’s trick is staying low to the ground; with feline confidence she slips into ventilation ducts, down sewer grates, and through subway tunnels, never once mistaking herself. The extent to which Cataleya’s life depends on the continuation of the game — the unquenchable killer’s inner life — is not part of this ride. When we do stop for ungainly confrontations with Emilio or Vartan, who plays her clueless boyfriend, the momentum of the pure cinema action scenes is thrown. And man, it is no small momentum. French director Olivier Megaton’s chosen last name (he was born Fontana) is just the first in a long line of things he’s not kidding about. Along with a spectacularly physical performance by Zaldana (although a scene of the anti-heroine shimmying with cool self-satisfaction feels corny and stale compared to the frank, appreciative mirror-gazing of her counterpart in Carlos), Colombiana features some of the best frame-for-frame shots you will see this year. Megaton’s weakness for big money moments feels old-fashioned in the best way: Who needs hyperkinetic camerawork or budget-busting effects when a director knows what to do with a woman, a shark pool, and a big fat drug lord? The action is as originally conceived as it is coherent; if it can’t quite make up for the hoariness of a lone FBI agent (Lennie James) cornering his unlikely killer with the aid of pure coincidence and bollock-y face recognition software, similarly fermented dialogue, and the primal but vacant gaze of its star, Colombiana comes close enough to make you forget to care.

Bret Easton Ellis' Downers Grove Will Feature Glee's Darren Criss

Bret Easton Ellis, who uses Twitter to air opinions like, “[Glee makes me feel] like I’ve stepped into a puddle of HIV,” is coming face to face with the puddle itself: Glee’s Darren Criss has apparently signed on for a supporting role in Downers Grove, costarring Lucy Hale and Hayden Panettiere, which Ellis is adapting. Said Ellis on Twitter, “Whatever my problems with Glee have nothing to do with the incredibly talented cast itself. Have tastelessly bashed the show not the actors.” Still, a minor LOL is in order. [Twitter]

Gracey to helm Jackman's Barnum pic

Exclusive: Just weeks after signing on to direct Disney's revisionist Snow White pic "The Order of the Seven," commercials helmer and VFX veteran Michael Gracey has become attached to direct Hugh Jackman in 20th Century Fox's P.T. Barnum pic "The Greatest Showman on Earth."Jenny Bicks ("Sex and the City") wrote the original contemporary musical, which Jackman is producing with his former producing partner John Palermo and Laurence Mark ("Dreamgirls"). Project came about after Jackman, Mark and Bicks worked together on the 81st Academy Awards, which Jackman hosted, Mark exec produced and Bicks helped write.Jackman will play Barnum, a showman with a penchant for hoaxing a gullible public who becomes famous for creating the three-ring circus. Musical also focuses on his infatuation with Swedish opera singer Jenny Lind, a role that has not yet been cast.Project was announced in Aug. 2009 and will likely remain in development a while longer, as Jackman is committed to filming James Mangold's "The Wolverine" for Fox, and is expected to topline Tom Hooper's adaptation of "Les Miserables" for Universal.Gracey will soon begin storyboarding Disney's live-action, China-set Snow White epic, which aims to start production next year. Helmer was an animator at Animal Logic ("Happy Feet") before he embarked on a commercials career that has seen him directing award-winning spots for Lipton and T-Mobile.Gracey is repped by CAA, Partizan and Hirsch Wallerstein. Contact Jeff Sneider at jeff.sneider@variety.com

ReelzChannel To Air Creative Arts Emmys

Reelzchannel is laying claim to this year's Creative Arts Emmys. PHOTOS: Emmy Nominees 2011 For his 17th time, Spike Jones, Jr will produce the kudofest, which will tape on Sept. 10 and air on Reelz a week later.It's a fitting next step for the cable network, which garnered 10 Emmy nominations for its controversial miniseries, The Kennedys. After a series of rival cable networks, beginning with History, passed on the Katie Holmes and Greg Kinnear vehicle, Reelz jumped in to acquire it. In addition to the buzz it generated for the little known network, the miniseries made Reelz the fourth most nominated cable network. STORY: John Walsh to Receive the Governors Award at Creative Arts Emmys "Our network has tremendous momentum with significant ratings growth and with the addition of signature television events such as the Creative Arts Awards we're bringing our viewers the best from the world of entertainment," said ReelzChannel chief executive Stan E. Hubbard in a statement. Added Jones Jr.,"When I started producing this show there was only one Law and Order and nobody knew Raymond." Related Topics Emmy Awards The Kennedys Emmys 2011

New Movie Reviews: 'The Help,' '30 Minutes or Less,' 'Glee the three dimensional Concert Movie' in Theaters A Few Days Ago

Moviegoers possess a slew of options a few days ago.our editor recommends'30 Minutes or Less' Premiere: 5 Things Been sent about the Red-colored Carpet'Glee The three dimensional Concert Movie': Harry Shum Junior. and Jenna Ushkowitz Spill Show Secrets'The Help' Premiere: 5 Things Been sent about the Red-colored Carpet Viola Davis, Emma Stone, Bryce Dallas Howard and Octavia Spencer star within the Tate Taylor's adaptation of Kathryn Stockett's novel The Assistance, which opened up Wednesday. PHOTOS: All of the Fashion of 'The Help' Meanwhile, Jesse Eisenberg and Danny McBride star within the R-ranked comedy half an hour or Less, directed by Ruben Fleischer. Also opening this Friday isGlee The three dimensional Concert Movie, directed by Kevin Tancharoen. The film starsLea Michele, Dianna Agron, Chris Colfer, Kevin McHale and Cory Monteith, among other castmembers of Fox's hit tv program. See exactly what the Hollywood Reporter's experts have to say of individuals films -- yet others opening a few days ago -- and discover how well they're likely to perform in the box office. The Assistance Main Point Here: This self-conscious and self-congratulatory portrait from the Jim Crow South does a minimum of contain two magnificent, award-worthy performances by Viola Davis and Octavia Spencer. Click the link to see The Hollywood Reporter's review. PHOTOS: Summer time Movie Guide half an hour or Less Main Point Here: Even when the film have been half an hour or less, this comedy would be too lengthy. Click the link to see THR's review. Glee The three dimensional Concert Movie Main Point Here: A bouncy but routine concert film outlined with a couple of fine song performances. Click the link to see THR's review. Final Destination 5 Main Point Here: This horror series with a little black comedy continues underneath the direction of first-timer Steven Quale. Click the link to see THR's review. STORY: 'The Help' Makes an uncommon A+ CinemaScore From Moviegoers Senna Main Point Here: Fine documentary about among auto racing's best will surprise fans making newer and more effective ones. Click the link to see THR's review. Over Your Metropolitan areas Grass Will Grow Main Point Here: For lovers from the artist and also the open-minded, the film really presents an effective way of appreciating Kiefer's remarkable work. Click the link to see THR's review. three dimensional Sex and Zen: Extreme Ecstasy Main Point Here: No, it isn't porn. Click the link to see THR's review. Related Subjects Bryce Dallas Howard Jum Michele Viola Davis Jesse Eisenberg Emma Stone The Assistance Final Destination 5 half an hour or Less Glee: The three dimensional Concert Movie Senna Over Your Metropolitan areas Grass Will Grow three dimensional Sex and Zen: Extreme Ecstasy

Hum Aapke Hain Koun

It informs the storyline of two enthusiasts, Prem (Salman Khan) and Nisha (Madhuri Dixit). Their older brothers and sisters, Rajesh and Pooja got married. After Pooja has her baby, the elders choose to get Prem married having a girl like Pooja. Prem and Nisha gradually fall deeply in love with one another. Prem informs his sister-in-law, Nisha's older sister, Pooja, he loves Nisha.Pooja binds both together with her benefits along with a necklace. Before Pooja will easily notice anybody what's promising, she falls lower the steps, and dies. Everybody feels they lost their existence after Pooja dies, because she'd a miracle touch that the dog, Tuffy, notices. Rajesh finds existence hard without Pooja, and that he finds it especially tough to raise their boy. The mother and father choose to get Rajesh married to Nisha to ensure that he won't feel so lonely, and the boy will receive a mother. Nisha unconsciously accepts because she thinks that she'll marry Prem. When she discovers she's getting married to Rajesh, both enthusiasts choose to sacrifice their fascination with Rejesh's happiness. The servant that Pooja treated just like a brother prays to God to prevent the marriage and also have Prem and Nisha got married. Your dog decides to behave and takes the necklace Pooja gave to Nisha to put on to her wedding with Prem. Nisha creates an email stating that she's giving Pooja's bind to Prem. Your dog takes the necklace and note and rather than passing on to Prem, he gives to Rajesh. Rajesh discovers that Nisha and Prem love one another, and steps aside to ensure that his more youthful brother can marry Nisha. They live happily ever after.

The Odd Life of Timothy Green Trailer: Jennifer Garner Wins a Baby!

Call the trailer for The Odd Life of Timothy Green the flip-side of yesterday’s grim sociopath drama We Need to Talk About Kevin. Just like in that clip, a mysterious child is born, except this one’s not a soulless weirdo — this time, he’s a cute soccer player! And his mom isn’t an exasperated Tilda Swinton — it’s a plucky Jennifer Garner! Luckily, one major similarity they share is quality. I can’t believe I want to see this quaint Disney jam. Point of order: When that muddy kid shows up in the cardboard box, it’s scarier than anything in We Need to Talk About Kevin. It reminds me of The Others, and I don’t mean that in the contrived Dream House way. It’s just damn spooky when children are contained in corrugated fiberboard. What a strange little movie. I gulped when Garner and Joel Edgerton started writing up all their favorite qualities in a kid, because that’s not what real people do. Real people don’t grab notepads, draw hearts on them, and anxiously scribble “Picasso with a pencil!” and “Scores the winning goal!” on them, because wishing for children should not be like Balderdash. But once the enigmatic child appeared, their joy seemed sincere and even underplayed. Jennifer Garner is damn good with maternal roles, no? Even if her kid is an ethereal kindergartener with magic soccer moves and perfectly floppity hair, Jen Garner sells realistic parental pride right. I don’t know what to make of the kid (CJ Adams) and his outstretched, sorcerer arms at the end of the trailer yet. All I know is that The Odd Life of Timothy Green came about thanks to one of Ahmet Zappa’s ideas (seriously), and so I’m banking on unforeseen weirdness. Or at least a Dweezil/Moon Unit cameo. And did you hear that lady at the end of the trailer mutter, “Where did he come from?” I know the ever-cynical Ms. Rosemarie Dewitt when I hear her! May as well call this movie Rachel Getting Maternity already. I’m in, and I’m bringing my sun-dappled dreamchildren with me. VERDICT: A beautiful, bouncing, semi-frightening baby boy! [via Yahoo!]

Jump London

Having developed from a childhood game, Free Running has been given global recognition due to a series of adverts for Toyota, Nike and the BBC to name a few. The recognised creator of the discipline, which involves running and jumping over buildings and any other obstacles, comes to London with several others to run, skip and jump across many of the famous landmarks of the city.

It's Official: Cowboy & Aliens Narrowly Edges Smurfs as Box-Office No. 1

A vexed, infuriated populace stood by helplessly this weekend as one of the ugliest economic stand-offs in American history threatened to destabilize our nation and the global market at large. Finally, however, an accord has been reached, and we can rebuild our shattered system with the knowledge that Cowboys & Aliens indeed knocked off The Smurfs for the top box-office spot. The Daniel Craig/Harrison Ford graphic-novel adaptation emerged triumphant with an official tally of $36.4 million to The Smurfs’ surprising $35.6 million. That doesn’t necessarily make the weekend any sweeter for the gangs at DreamWorks and Universal, which had at least a $50 million domestic opening and long tail through August on their minds. Alas. Also, I am a 35-year-old man writing about movies called Cowboys & Aliens and The Smurfs. Wake me in September. [via Box Office Mojo]