Monday 31 December 2012

Hollywood tops Chinese film market in 2012, first time in four years

SHANGHAI | Mon Dec 31, 2012 12:02pm EST

SHANGHAI (Reuters) - China's 2012 box office was dominated by foreign films for the first time in four years as a deal cemented earlier this year saw more Hollywood film screened on the mainland, squeezing out domestic competition.

China's box office receipts are expected to reach 16.8 billion yuan ($2.7 billion) in 2012 and about 8 billion yuan ($1.28 billion), or slightly less than half the receipts, are from domestic films, the official People's Daily reported on Monday, quoting estimates from the State Administration of Radio, Film and Television.

It is the first time in four years that domestic film receipts totaled less than 50 percent of the market and signals that the February trade agreement to allow more Hollywood movies to be screened in China is having a significant impact on the country's movie industry.

Last year, domestic films made up 54 percent of box office receipts, down slightly from 56 percent in 2010, local media reported. China agreed in February to open its market to more American movies, permitting 14 premium format films such as IMAX or 3D to be exempt from the annual 20 foreign film quota.

Last month, Tian Jin, China's vice minister of the State Administration of Radio, Film and Television, said the U.S. film industry was reaping massive profits due to the February concession while domestic producers were under pressure.

However, the best-selling film this year is a low-budget, domestically-produced comedy called "Lost in Thailand" about two rival businessmen. The movie drew a bigger audience in China than James Cameron's "Avatar", the People's Daily said.

($1 = 6.2335 Chinese yuan)

(Reporting by Melanie Lee; Editing by Matt Driskill)


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Green Day to get back on road in March

The Rock group Green Day, Mike Dirnt, (L), Billie Joe Armstrong, (C), and Tre Cool arrive for the 2012 MTV Video Music Awards in Los Angeles, September 6, 2012. REUTERS/Danny Moloshok

The Rock group Green Day, Mike Dirnt, (L), Billie Joe Armstrong, (C), and Tre Cool arrive for the 2012 MTV Video Music Awards in Los Angeles, September 6, 2012.

Credit: Reuters/Danny Moloshok

NEW YORK | Mon Dec 31, 2012 2:40pm EST

NEW YORK (Reuters) - The members of Green Day said on Monday they will return to the road in March after the punk rock band canceled its fall club tour and postponed later dates as frontman Billie Joe Armstrong underwent treatment for substance abuse.

"We want to thank everyone for hanging in with us for the last few months," the band members said in a statement on their website. "We are very excited to hit the road and see all of you again, though we regret having to cancel more shows."

Armstrong, lead singer and guitarist for the Grammy-winning rock band, sought substance abuse treatment in September following an angry, guitar-smashing on-stage outburst in Las Vegas. The details of his addiction were never specified.

Armstrong, 40, added to the website posting with a note on Instagram, saying:

"Dear friends ... I just want to thank you all for the love and support you've shown for the past few months. Believe me, it hasn't gone unnoticed and I'm eternally grateful to have such an amazing set of friends and family.

"I'm getting better every day," he said. "So now, without further ado, the show must go on. We can't wait to get on the road and live out loud! Our passion has only grown stronger."

The tour will begin in Chicago on March 28, with dates in Pittsburgh, New York, Toronto and other cities up through April 12 in Quebec City.

The band said it would announce additional West Coast dates in early 2013.

Tickets for the postponed shows will be honored at the new dates, Green Day said. Tickets for canceled shows will be refunded at the point of purchase.

In November the band moved up the release date of "iTré!," part of an ambitious trilogy of albums that marks their first collection of new music since 2009, to December 11 from its original date of January 15, in part to make up for the canceled and postponed dates.

The California-based punk rock band, formed in the late 1980s, has sold more than 65 million records worldwide and won five Grammys, including best alternative album for its 1994 major-label debut, "Dookie," and best rock album for "American Idiot" and "21st Century Breakdown."

(Reporting by Chris Michaud; Editing by Jill Serjeant and Bill Trott)


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Kanye West, Kim Kardashian expecting baby: reports

Rap musician Kanye West is seen court side with reality television star Kim Kardashian as the Miami Heat play the New York Knicks in their NBA basketball game in Miami, Florida December 6, 2012.

Credit: Reuters/Andrew Innerarity


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Hollywood tops Chinese film market in 2012, first time in four years

SHANGHAI | Sun Dec 30, 2012 11:01pm EST

SHANGHAI (Reuters) - China's 2012 box office was dominated by foreign films for the first time in four years as a deal cemented earlier this year saw more Hollywood film screened on the mainland, squeezing out domestic competition.

China's box office receipts are expected to reach 16.8 billion yuan ($2.7 billion) in 2012 and about 8 billion yuan ($1.28 billion), or slightly less than half the receipts, are from domestic films, the official People's Daily reported on Monday, quoting estimates from the State Administration of Radio, Film and Television.

It is the first time in four years that domestic film receipts totaled less than 50 percent of the market and signals that the February trade agreement to allow more Hollywood movies to be screened in China is having a significant impact on the country's movie industry.

Last year, domestic films made up 54 percent of box office receipts, down slightly from 56 percent in 2010, local media reported. China agreed in February to open its market to more American movies, permitting 14 premium format films such as IMAX or 3D to be exempt from the annual 20 foreign film quota.

Last month, Tian Jin, China's vice minister of the State Administration of Radio, Film and Television, said the U.S. film industry was reaping massive profits due to the February concession while domestic producers were under pressure.

However, the best-selling film this year is a low-budget, domestically-produced comedy called "Lost in Thailand" about two rival businessmen. The movie drew a bigger audience in China than James Cameron's "Avatar", the People's Daily said.

($1 = 6.2335 Chinese yuan)

(Reporting by Melanie Lee; Editing by Matt Driskill)


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"The Hobbit" keeps box office crown for third week

By Ronald Grover and Chris Michaud

Sun Dec 30, 2012 3:55pm EST

n">(Reuters) - The dwarfs and elves of "The Hobbit: An Unexpected Journey" prevailed at the North American box office again over the weekend, as its $32.9 million in ticket sales topped both the star-packed musical "Les Miserables" and the western "Django Unchained."

Despite surging past "The Hobbit" on Christmas day with an $18.1 million opening, "Les Miz" managed only third place in U.S. and Canadian sales with $28 million as Christmas shoppers returned from the malls to boost Hollywood's box office, according to studio estimates.

"The Hobbit," in its third week of release, has now grossed $222.7 million domestically, Warner Bros said.

Quentin Tarantino's "Django Unchained," a western starring Jamie Fox as a slave turned bounty hunter, took second with an impressive $30.7 million.

Tom Cruise's crime drama "Jack Reacher," which features author Lee Child's former military investigator solving a fatal sniper attack, landed in fifth with $14 million, outpaced by "Parental Guidance," the Billy Crystal-Bette Midler as grandparents comedy which took in $14.8 million to nab fourth.

Chris Aronson, president of domestic distribution for Fox, said the "Parental Guidance" performance was "just a tremendous result for our little engine that could."

Backed by a musical score that made it a Broadway icon, "Les Miz" surged past "The Hobbit" on Christmas day, collecting $18.1 million to pass "High School Musical 3: Senior Year" with the biggest midweek opening day by a musical.

But it was not enough to conquer the "Hobbit" juggernaut, which scored its third straight box office weekend win.

Universal's president for domestic distribution Nikki Rocco called the "Les Miz" $28 million take "phenomenal, especially considering we went into the weekend with $40 million," an unexpectedly strong figure for its first few days in release.

"People really love this movie, which is even more rewarding and gratifying," Rocco said.

"Les Miserables," which stars Hugh Jackman, Russell Crowe and Anne Hathaway, benefited from Oscar buzz and its star power, said Paul Dergarabedian, president of Hollywood.com's box office division, who said he wouldn't be surprised to see the musical pass $200 million before it's done.

That would put it among the Hollywood's Top 20 best-selling musicals. It would pass the 1972 film "Cabaret," which grossed $191 million in box office sales adjusted for higher ticket prices, and put it close to "Camelot," which sold $204.5 million in 1967, according to the web site the-numbers.com.

The most successful musical is "Snow White and the Seven Dwarfs," which grossed more than $6.3 billion but has been re-released by Walt Disney nine times since its 1937 premiere, according to the site.

A rush of high-profile films in December is expected to push 2012 to a domestic box office record. The current record is $10.6 billion, set in 2009.

"Jack Reacher" debuted just days after the Newtown, Connecticut, school shooting sparked new debate about the impact of movie violence. "Reacher" begins with a sniper killing a handful of seemingly random victims. A red-carpet premiere and a screening to promote the $60-million production were postponed after the December 14 Newtown tragedy.

Adult comedy "This is 40" starring Paul Rudd and Leslie Mann as a middle-aged couple was sixth with $13.2 million. The Judd Apatow $35 million film totaled $37 million after two weeks. The seventh spot went to Steven Spielberg's historical film "Lincoln," with $7.5 million for a $132 million domestic total.

Comedy "The Guilt Trip," starring Barbra Streisand and Seth Rogen as a mother and son on a cross-country drive, pulled in $6.7 million for eighth.

Also this week the latest James Bond hit "Skyfall" topped $1 billion in worldwide sales, despite falling out of the week's top 10 films at the box office.

"The Hobbit" was distributed by Time Warner Inc's Warner Bros studio. Paramount Pictures, a unit of Viacom Inc released, "Jack Reacher" and "The Guilt Trip." Comcast Corp's Universal Studios released "Les Miserables" and "This is 40." "Django Unchained" was released in the United States by the Weinstein Company.

(Reporting By Ronald Grover; Editing by Cynthia Osterman)


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Sunday 30 December 2012

UK "X Factor" winner regains top chart spot

LONDON | Sun Dec 30, 2012 2:03pm EST

LONDON (Reuters) - James Arthur, winner of this year's British version of the "X Factor" TV talent show, saw his debut single climb back to number one in the British pop charts on Sunday.

Arthur's "Impossible" shot straight to the top earlier this month but was overtaken last week by a tribute song to the victims of the 1989 Hillsborough football stadium disaster, "He Ain't Heavy, He's My Brother", a version of the ballad that was a worldwide hit for The Hollies.

That song has now slipped to fifth position, according to the Official Charts Company listings.

"Scream and Shout" by will.i.am, featuring Britney Spears, stayed at two while Psy's monster video hit "Gangnam Style" was up three places to third.

In the album charts, British singer Emeli Sande stayed top with "Our Version Of Events", with Olly Murs' "Right Place, Right Time" unchanged at two.

Rihanna was up three places to third with "Unapologetic".

(Reporting by Stephen Addison; Editing by Alison Williams)


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"The Hobbit" keeps box office crown for third week

By Ronald Grover and Chris Michaud

Sun Dec 30, 2012 2:18pm EST

n">(Reuters) - The dwarfs and elves of "The Hobbit: An Unexpected Journey" prevailed at the North American box office again over the weekend, as its $32.9 million in ticket sales topped both the star-packed musical "Les Miserables" and the western "Django Unchained."

Despite surging past "The Hobbit" on Christmas day with an $18.1 million opening, "Les Miz" managed only third place in U.S. and Canadian sales with $28 million as Christmas shoppers returned from the malls to boost Hollywood's box office, according to studio estimates.

"The Hobbit," in its third week of release, has now grossed $222.7 million domestically, Warner Bros said.

Quentin Tarantino's "Django Unchained," a western starring Jamie Fox as a slave turned bounty hunter, took second with an impressive $30.7 million.

Tom Cruise's crime drama "Jack Reacher," which features author Lee Child's former military investigator solving a fatal sniper attack, landed in fifth with $14 million, outpaced by "Parental Guidance," the Billy Crystal-Bette Midler as grandparents comedy which took in $14.8 million to nab fourth.

Chris Aronson, president of domestic distribution for Fox, said the "Parental Guidance" performance was "just a tremendous result for our little engine that could."

Backed by a musical score that made it a Broadway icon, "Les Miz" surged past "The Hobbit" on Christmas day, collecting $18.1 million to pass "High School Musical 3: Senior Year" with the biggest midweek opening day by a musical.

But it was not enough to conquer the "Hobbit" juggernaut, which scored its third straight box office weekend win.

Universal's president for domestic distribution Nikki Rocco called the "Les Miz" $28 million take "phenomenal, especially considering we went into the weekend with $40 million," an unexpectedly strong figure for its first few days in release.

"People really love this movie, which is even more rewarding and gratifying," Rocco said.

"Les Miserables," which stars Hugh Jackman, Russell Crowe and Anne Hathaway, benefited from Oscar buzz and its star power, said Paul Dergarabedian, president of Hollywood.com's box office division, who said he wouldn't be surprised to see the musical pass $200 million before it's done.

That would put it among the Hollywood's Top 20 best-selling musicals. It would pass the 1972 film "Cabaret," which grossed $191 million in box office sales adjusted for higher ticket prices, and put it close to "Camelot," which sold $204.5 million in 1967, according to the web site the-numbers.com.

The most successful musical is "Snow White and the Seven Dwarfs," which grossed more than $6.3 billion but has been re-released by Walt Disney nine times since its 1937 premiere, according to the site.

A rush of high-profile films in December is expected to push 2012 to a domestic box office record. The current record is $10.6 billion, set in 2009.

"Jack Reacher" debuted just days after the Newtown, Connecticut, school shooting sparked new debate about the impact of movie violence. "Reacher" begins with a sniper killing a handful of seemingly random victims. A red-carpet premiere and a screening to promote the $60-million production were postponed after the December 14 Newtown tragedy.

Adult comedy "This is 40" starring Paul Rudd and Leslie Mann as a middle-aged couple was sixth with $13.2 million. The Judd Apatow $35 million film totaled $37 million after two weeks. The seventh spot went to Steven Spielberg's historical film "Lincoln," with $7.5 million for a $132 million domestic total.

Comedy "The Guilt Trip," starring Barbra Streisand and Seth Rogen as a mother and son on a cross-country drive, pulled in $6.7 million for eighth.

Also this week the latest James Bond hit "Skyfall" topped $1 billion in worldwide sales, despite falling out of the week's top 10 films at the box office.

"The Hobbit" was distributed by Time Warner Inc's Warner Bros studio. Paramount Pictures, a unit of Viacom Inc released, "Jack Reacher" and "The Guilt Trip." Comcast Corp's Universal Studios released "Les Miserables" and "This is 40." "Django Unchained" was released in the United States by the Weinstein Company.

(Reporting By Ronald Grover; Editing by Cynthia Osterman)


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Western movie character actor Harry Carey Jr. dies at 91

By Alex Dobuzinskis

LOS ANGELES | Fri Dec 28, 2012 10:56pm EST

LOS ANGELES (Reuters) - Veteran character actor Harry Carey Jr., who appeared in scores of television shows and films including nine of famed movie director John Ford's classic Hollywood Westerns, has died at age 91, his family said on Friday.

Carey, a frequent supporting player in films starring John Wayne, died peacefully of natural causes on Thursday morning in the seaside town of Santa Barbara, California, surrounded by family members, said his daughter, Melinda Carey.

"No cancer or nothing, he just got old," she said of her father, who is survived by his wife of 68 years, Marilyn, and three adult children.

Carey's more notable big-screen credits included a co-starring role with John Wayne in Ford's 1948 outlaw film "3 Godfathers," the role of a young cavalry officer in Ford's 1949 western "She Wore a Yellow Ribbon," also with Wayne, and a turn decades later in a saloon scene in the 1990 sci-fi comedy "Back to the Future Part III."

In all, he made 11 movie appearances with Wayne.

Among other Ford-directed films in which Carey appeared were "The Searchers" (1956), "Wagon Master" (1950) and "Rio Grande" (1950).

In addition to a prodigious movie career that encompassed more than 90 films, Carey was a fixture on television during an era when westerns proliferated on the small screen, popping up in various character roles on such prime-time hits as "Bonanza," "Gunsmoke" and "Wagon Train" in the 1960s and 1970s.

In the 1950s, he had a recurring role in "The Adventures of Spin and Marty," a series of TV shorts that aired as part of "The Mickey Mouse Club."

Carey was born in 1921, the son of silent film star Harry Carey and his wife, Olive, who also was an actress.

The young Carey was raised among cattle and horses on his parents' 1,000-acre ranch in California's Santa Clarita Valley, north of Los Angeles, and he earned the nickname "Dobe" because his hair color was the hue of the ranch's reddish adobe clay. Even late in life, he went by that nickname.

THE JOHN FORD STOCK COMPANY

The family's affiliation with Ford dated back to the director's earliest westerns, with Carey's father appearing in some of Ford's silent films in 1917.

During World War Two, the younger Carey worked with Ford on training and propaganda films for the U.S. military. He went on to become a regular performer, along with his father, in the John Ford Stock Company - actors and crew members who Ford used repeatedly in his films. Carey Jr. was reported to be the last surviving member of Ford's stock company.

Carey's first feature collaboration with Ford in "3 Godfathers," playing the Abilene Kid, saw Carey, Wayne and Mexican-born actor Pedro Armendariz co-star as cattle rustlers and bank robbers who care for an orphaned baby boy while dodging the law. Carey's father starred in the original 1919 version, also directed by Ford.

Carey began his association with Wayne in another 1948 release, the classic Howard Hawks Western movie "Red River," which also starred the elder Carey, though father and son had no scenes together.

Among Carey's last screen appearances were his turn as a U.S. marshal in the 1993 film "Tombstone," which starred Val Kilmer and Kurt Russell, and a supporting role in the 1997 TV movie "Last Stand at Saber River," which starred Tom Selleck.

The Carey family ranch, which was visited over the years by Wayne and fellow actors William S. Hart and Gary Cooper, has been turned into a Los Angeles County historic park called Tesoro Adobe.

Laurene Weste, city councilwoman in Santa Clarita, said Carey Jr. remains a beloved figure in the area where the family ranch was once so prominent. "He was just a wonderful, loving, kind, down-to-Earth man," she said.

(Additional reporting by Steve Gorman; Editing by Will Dunham)


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Actress Katie Holmes' Broadway show to close

Actress Katie Holmes poses during the ''12-12-12'' benefit concert for victims of Superstorm Sandy at Madison Square Garden in New York, December 12, 2012. REUTERS/Carlo Allegri

Actress Katie Holmes poses during the ''12-12-12'' benefit concert for victims of Superstorm Sandy at Madison Square Garden in New York, December 12, 2012.

Credit: Reuters/Carlo Allegri

NEW YORK | Fri Dec 28, 2012 11:47am EST

NEW YORK (Reuters) - Actress Katie Holmes' return to Broadway has been cut short, with producers announcing that the play "Dead Accounts" in which she co-stars will close on January 6, nearly two months early.

Holmes, the ex-wife of actor Tom Cruise, played Lorna, a wan, beaten-down woman living with her parents in the five-character play by Theresa Rebeck which opened on November 29 to mostly negative reviews.

No reason was given for the play's early closing, but media reports said it was earning only a fraction of its box office potential.

Many reviewers said Holmes acquitted herself alongside a roster of Broadway veterans, who included Tony-winning actor Norbert Leo Butz as the brother who returns to his Midwestern family and unleashes havoc in the comedy.

The New York Daily News said "she throws herself gamely into her second Broadway show ... (but) Holmes' efforts add up to zilch."

Most critics laid blame on an undeveloped, sketchy play by the author of last season's better-received "Seminar."

Holmes, 34, reached a high-profile divorce settlement with Cruise last summer. She lives in New York with her young daughter, Suri. Holmes will co-star in an upcoming film which will be a modernization of Chekhov's "The Seagull" along with Allison Janney and William Hurt.

(Reporting by Chris Michaud; Editing by Patricia Reaney and Vicki Allen)


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Film explores African-Americans' unhealthy "soul food" habit

By Harriet McLeod

Thu Dec 27, 2012 8:29pm EST

n">(Reuters) - After interviewing food historians, scholars, cooks, doctors, activists and consumers for his new film "Soul Food Junkies," filmmaker Byron Hurt concluded that an addiction to soul food is killing African-Americans at an alarming rate.

The movie, which will premiere on January 14 on U.S. public broadcasting television, examines how black cultural identity is linked to high-calorie, high-fat food such as fried chicken and barbecued ribs and how eating habits may be changing.

In the deeply personal film, Hurt details his father's fight and eventual death from pancreatic cancer. A high-fat diet is a risk factor for the illness, according to researchers at Duke University in North Carolina.

"I never questioned what we ate or how much," 42-year-old New Jersey-based Hurt says in the film that travels from New Jersey and New York to Virginia, Georgia, Mississippi, Louisiana and Chicago.

"My father went from being young and fit to twice his size."

Hurt, who also made "Hip-Hop: Beyond Beats and Rhymes," decided to examine the link between calorie-loaded soul food and illnesses among blacks after his father was diagnosed in 2006.

He delves into his family history, as well as slavery, the African diaspora and the black power movement in the film and provides photographs, drawings, historic film footage and maps.

In Jackson, Mississippi, Hurt joined football fans for ribs and corn cooked with pigs' feet and turkey necks. He also visited Peaches Restaurant, founded in 1961, where freedom riders and civil rights activists including Martin Luther King Jr. ate.

Hurt, whose family came from Milledgeville, Georgia, grew up on a diet of fried chicken, pork chops, macaroni and cheese, potatoes and gravy, barbecued ribs, sweet potato pie, collard greens, ham hocks and black-eyed peas.

"The history of Southern food is complex," he said. "In many ways, the term soul food is a reduction of our culinary foodways."

The origins of the diet lie in the history of American slavery, according to food historian Jessica B. Harris, who appears in the film. Slaves ate a high-fat, high-calorie diet that would allow them to burn 3,000 calories a day working, she explained.

Southern food began to be called soul food during the civil rights and black power movements of the 1960s, according to Hurt.

"There's an emotional connection and cultural pride in what they see as the food their population survived on in difficult times," he said.

But Hurt said African-Americans are being devastated by nutrition-related diseases.

Black adults have the highest rates of obesity and a higher prevalence of diabetes than whites, and are twice as likely to die of stroke before age 75 than other population groups, according to the U.S. Centers for Disease Control and Prevention.

Besides tradition and habit, poverty and neighborhoods without good supermarkets also contribute to an unhealthy diet, Hurt said.

"Low-income communities of color lack access to vegetables and have an overabundance of fast food and highly processed foods that are high in calories and fats. I always know when I'm in a community of color because I see ... very, very few supermarkets and health food stores," he added.

In her book, "High on the Hog: A Culinary Journey from Africa to America," Harris said the prevalence of over processed foods, low-quality meats, and second- or third-rate produce in minority neighborhoods amounts to "culinary apartheid."

In the film, Marc Lamont Hill, an associate professor of English education at Columbia University in New York, described minority health problems related to poor diet as "21st-century genocide."

Hurt says the government can help by increasing urban access to quality food and requiring calorie counts to be displayed on restaurant menus.

Nonprofit organizations such as Growing Power Inc., which runs urban farms in Chicago and Milwaukee, provide fresh vegetables to minority neighborhoods.

Brian Ellis, 21, said all he ate was fast food when he started working at one of Growing Power's urban farms in Chicago when he was 14.

"Then I started eating food I'd never seen before like Swiss chard," said Ellis, who appears in the film. "I never knew what beets were. I'd never seen sprouts before. I'm not that big of a beet fan, but I love sprouts. I could eat sprouts all day."

(Editing by Patricia Reaney and Mohammad Zargham)


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Friday 28 December 2012

Character actor, World War Two hero Charles Durning dies at 89

Actor Charles Durning is interviewed at a ceremony where he receives a star on the Hollywood Walk of Fame in Hollywood July 31, 2008. REUTERS/Phil McCarten

Actor Charles Durning is interviewed at a ceremony where he receives a star on the Hollywood Walk of Fame in Hollywood July 31, 2008.

Credit: Reuters/Phil McCarten

NEW YORK | Tue Dec 25, 2012 9:22am EST

NEW YORK (Reuters) - Charles Durning, a World War Two hero who became one of Hollywood's top character actors in films like "The Sting," "Tootsie" and "The Best Little Whorehouse in Texas," has died, a New York City funeral home said on Tuesday. He was 89.

Durning, who was nominated for nine Emmys for his television work as well as two Academy Awards, died of natural causes at his New York City home on Monday, his agent told People magazine. Frank E. Campbell Funeral Chapel in Manhattan confirmed Durning's death to Reuters.

Durning also was an accomplished stage actor and once said he preferred doing plays because of the immediacy they offered. He gained his first substantial acting experience through the New York Shakespeare Festival starting in the early 1960s and won a Tony Award for playing Big Daddy in a 1990 Broadway revival of "Cat on a Hot Tin Roof."

Durning did not start amassing film and TV credits until he was almost 40 but went on to appear in more than 100 movies, in addition to scores of TV shows.

Durning's first national exposure came playing a crooked policeman who gets conned by Robert Redford in the 1973 movie "The Sting." He got the role after impressing director George Roy Hill with his work in the Pulitzer- and Tony-winning Broadway play "That Championship Season."

Durning had everyday looks - portly, thinning hair and a bulbous nose - and was a casting director's delight, equally adept at comedy and drama.

Durning was nominated for supporting-actor Oscars for playing a Nazi in the 1984 Mel Brooks comedy "To Be or Not to Be" and the governor in the musical "The Best Little Whorehouse in Texas" in 1983. "Whorehouse" was one of 13 movies Durning made with friend Burt Reynolds, as well as Reynolds' 1990s TV sitcom "Evening Shade."

Other notable Durning movie roles included a cop in "Dog Day Afternoon," a man who falls in love with Dustin Hoffman's cross-dressing character in "Tootsie," "Dick Tracy," "Home for the Holidays," "The Muppet Movie," "North Dallas Forty" and "O Brother Where Art Thou?"

He was nominated for Emmys for the TV series "Rescue Me," "NCIS," "Homicide: Life on the Street," "Captains and the Kings" and "Evening Shade," as well as the specials "Death of a Salesman," "Attica" and "Queen of the Stardust Ballroom."

Durning was a fan of Jimmy Cagney and after returning from harrowing service in World War Two he tried singing, dancing, and stand-up comedy. He attended the American Academy of Dramatic Arts until he was kicked out.

"They basically said you have no talent and you couldn't even buy a dime's worth of it if it was for sale," Durning told The New York Times.

D-DAY INVASION

He worked a number of make-do jobs - cab driver, dance instructor, doorman, dishwasher, telegram deliveryman, bridge painter, tourist guide - all while waiting for a shot at an acting career. Occasional stage roles led him to Joseph Papp, the founder of the New York Shakespeare Festival, who became his mentor.

"Joe said to me once, 'If you hadn't been an actor, you would have been a murderer,'" Durning told the Times. "I don't know what that meant. I hope he was kidding. He said I couldn't do anything else but act."

Durning grew up in Highland Falls, New York, and was 12 years old when his Irish-born father died of the effects of mustard gas exposure in World War One. He had nine siblings and five of his sisters died of smallpox or scarlet fever - three within a two-week period.

Durning was part of the U.S. force that landed at Omaha Beach during the D-Day invasion in June 1944. A few days later he was shot in the hip - he said he carried the bullet in his body thereafter - and after six months of recovery was sent to the Battle of the Bulge.

Durning, who was wounded twice more, was captured and was one of the few survivors of the Malmedy massacre when German troops opened fire on dozens of American prisoners. In addition to three Purple Heart medals for his wounds, Durning was presented the Silver Star for valor.

At an observation of the 60th anniversary of D-Day in Washington, Durning told of the terror he felt and carnage he saw when hitting the beach on D-Day. He said he had to jettison his weapon and gear in order to swim ashore and saw mortally wounded comrades offering themselves as human shields.

"I forget a lot of stuff now but I still wake up once in a while and it's still there," he said. "I can't count how many of my buddies are in the cemetery at Normandy."

Durning was married twice and had three children.

(Reporting by Ellen Wulfhorst; Writing by Bill Trott; Editing by Eric Beech)


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Jessica Simpson's Christmas tweet seems to confirm pregnancy rumor

Actress and honoree Jessica Simpson is interviewed at the US Weekly Hot Hollywood Style issue party in Hollywood, California April 26, 2011.

Credit: Reuters/Mario Anzuoni


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Billy Crystal channels real-life role in "Parental Guidance"

Actor Billy Crystal speaks to the media backstage during the ''12-12-12'' benefit concert for victims of Superstorm Sandy at Madison Square Garden in New York, December 12, 2012. REUTERS/Carlo Allegri

Actor Billy Crystal speaks to the media backstage during the ''12-12-12'' benefit concert for victims of Superstorm Sandy at Madison Square Garden in New York, December 12, 2012.

Credit: Reuters/Carlo Allegri

By Zorianna Kit

LOS ANGELES | Thu Dec 27, 2012 6:03am EST

LOS ANGELES (Reuters) - After a decade away from the big screen, funnyman Billy Crystal has mined his real-life experiences as a grandfather and is back in the holiday season movie "Parental Guidance."

The film, which opened in U.S. theaters on Christmas, stars Crystal as a recently fired baseball announcer, who agrees to watch his three grandchildren with his wife (Bette Midler), while his daughter and her husband go on a business trip.

Crystal, 64, sat down with Reuters to talk about the film, being a grandparent and why he won't host the Oscars ceremony anymore.

Q: You have not been on the big screen in a starring role since 2002's "Analyze That." Did you miss making movies?

A: "I spent over four years doing my one-man Broadway show, '700 Sundays' and didn't care about doing movies. I just so love being in front of live audiences. The play is more satisfying than anything. I'm not interrupted by planes flying overhead, waiting for them to light and all those gruesome slow things on a movie. But really, the last five years were spent getting this movie made."

Q: How did "Parental Guidance" become your return to film?

A: "When I wrote the first story for this movie, my wife Janice and I babysat for our daughter Jenny while she went away with her husband. We had six days with their girls, all alone. It was an eye-opener. When you're not used to that energy, it's tough. On the 7th day I rested and came in to the office and said, 'Here's the idea for the movie.'"

Q: What was eye-opening about those six days?

A: "The eye-opener was the bible that we were given before they left town about what to say (to the kids), what to do, all the rules, don't do this, don't do that, this child has to be taken here. They have my respect of how they programmed their days and weeks. It's insane what they have to do nowadays for schooling and parenting. It's wild."

Q: Quite a difference between your childhood and the grandkids' childhood, right?

A: "When I was a kid growing up, it was basically 'Go outside and play and I'll see you at dinner.' There was no thought that there were bad people out there. There was such a carefree wonderful trust which forced you to use your imagination, which also bonded you with the best of you, and your friends. We didn't have that 'inside' thing like videogames. My only 'inside' thing was watching the Yankees. Otherwise everything was outside."

Q: Speaking of the Yankees, your well-documented lifelong love of baseball is incorporated in to the film with your character being a ball-game announcer. That must have been fun to do.

A: "I love the game and I thought it was a really interesting occupation we hadn't seen before. And a good one for me to play because I love it. I wanted my character to have something he loved doing where I didn't have to fake it."

Q: In being absent from the silver screen for a while, did you find that the movie-making business has changed much?

A: "The studios are so concerned with quadrants (capturing four major demographic groups of moviegoers - men, woman and those over and under 25). I'd never heard of these things when I was in my early years of making movies. You just did them. There was no interference. Now it's a whole different ball game. They're so worried: 'Who's going to come?' Well, there's 77 million American who are babyboomers. That's a huge audience who wants to laugh and have a story told to them that doesn't have bombs and spies and killing."

Q: Does "Parental Guidance" reflect where are you now at this stage of your life?

A: "I was fortunate to be in a great romantic comedy about falling in love (1989's 'When Harry Met Sally'). I wrote the original story for my turning 40, 'City Slickers' (in 1991), which became a huge hit and a very liked movie. And now 'Parental Guidance' happened at this point in my life. I relate to it as a parent and a grandparent."

Q: You will be a grandfather for the fourth time in March. What do you like best about that role?

A: "It's so hard to understand how you can love someone so much that's not yours, but extensions of you. I'm always so moved seeing my girls pregnant, and seeing them move on in their lives. I'm going to turn 65 on March 14. My wife's birthday is the 16th. The baby's due the 18th. So we've got maybe a straight flush happening here. That would be the greatest present of all - a healthy new baby."

Q: Last year you hosted the Oscar ceremony for the ninth time, making you the second most-used host after the late Bob Hope. Are you gunning for his title?

A: "I'm not even close. I've done 9, he's done 19 and neither one of us are doing it again. It's hard to say, 'Can't wait to do it again,' but I can wait."

(Reporting By Zorianna Kit, Editing by Piya Sinha-Roy and Cynthia Osterman)


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Soprano Bartoli: My voice has more colors, shadow

Italy’s mezzo-soprano Cecilia Bartoli stands near her wax statue at the Musee Grevin in Paris June 28, 2011. REUTERS/Jacky Naegelen

Italy’s mezzo-soprano Cecilia Bartoli stands near her wax statue at the Musee Grevin in Paris June 28, 2011.

Credit: Reuters/Jacky Naegelen

By Michael Roddy

LONDON | Thu Dec 27, 2012 9:42am EST

LONDON (Reuters) - Italian mezzo-soprano Cecilia Bartoli has released a year-end blockbuster that is part mystery story, part research project and shows off a voice which only seems to improve with age.

Bartoli's latest deluxe-packaged album "Mission" (Decca) is devoted to the music of the late 17th-century Italian composer, diplomat and perhaps spy, Agostino Steffani.

Steffani may have been a bit overlooked as a result of his appearance at the end of the Renaissance and at the beginning of the Baroque periods - until Bartoli's interest alighted on him.

"The variety is amazing in the music of Steffani, the slow arias have very beautiful melodic lines, they are unbelievable, it's quite hypnotic music," Bartoli said in a telephone interview from Paris.

Since she burst upon the world in the 1990s, specializing mostly in Mozart and Rossini, Bartoli has gone from strength to strength, not only in digging up unusual repertoires, including another deluxe compilation in 2009 devoted to music sung by castrati, but also vocally.

Here's what else Bartoli had to say about Steffani and his possible career as a spy, why she goes for the anti-diva look on her recent album covers, and what she calls a Fellini-esque experience at La Scala with conductor Daniel Barenboim:

Q: Is it true, then, that the voice improves with time?

A: "I think this is a very good time because of the maturity of the technique. When you are young, of course, you have to have a beautiful voice. This is a gift you receive, but you don't have enough technique or experience. So this is a very good time because I can really paint with my voice with so many colors, like a painter. I love painting with the voice and I'm of an age when I do this definitely better than 20 years ago."

Q: So this bit about Steffani being a spy, surely that was dreamt up by the Decca marketing department?

A: "He had an incredible life as a priest, a missionary and a diplomatic mission to arranging weddings between the royal princes of that period. And also he was a kind of spy, in fact he was a Catholic priest in the north of Germany, in the Protestant area, and he spent lots of years in that area - it was very unusual, very strange. Maybe he also had the mission to convert (people) to Catholicism, who knows? We have lots of speculation about him, all the mysterious things about this man. There's still mystery."

Q: There's no mystery though that the cover for this album, showing you bald-headed and wielding a crucifix, is "non-diva" - like the cover on the "Sacrificium" album of castrati music, with your head superimposed on the torso of a male statue.

A: "The idea was to have a cover related to the project and it was a bit against the cliche of a diva who has to look beautiful all the time. In a project like 'Sacrificium', when at the beginning of the 18th century 3,000-4,000 boys were castrated every year in Italy...how can I make a CD project about this and make a cover with a beautiful, glamorous Vanity Fair picture? This would be more embarrassing...People realize there is a real story here to tell, it's not a compilation of arias which you do for Christmas. And 'Sacrificium' was a huge success."

Q: Your concert recital earlier this month singing Handel, Rossini and Mozart with Daniel Barenboim conducting at La Scala in Milan, with a chorus of boos and whistles in the second half, was perhaps less of a success?

A: "This story is repeating what happened to Carlos Kleiber, one of the greatest conductors of our lives, also to (Maria) Callas, (Luciano) Pavarotti. The concert was magnificent - Handel, Mozart, Rossini - and then I believe at the very end there was a very Fellinian situation. You think these things don't happen anymore, that they only happen in the movies of (Federico) Fellini but actually, no, this is happening. And it seemed like a parody but the next morning I opened the newspaper and (Silvio) Berlusconi is back (in Italian politics). And so I said, 'Yes, of course.'

I think living in Italy is difficult but living without Italy is impossible."

(Editing by Michael Roddy)


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Natalie Portman, Kristen Stewart most bankable Hollywood stars

Actress Natalie Portman arrives at the 84th Academy Awards in Hollywood, California, February 26, 2012. REUTERS/Lucas Jackson

Actress Natalie Portman arrives at the 84th Academy Awards in Hollywood, California, February 26, 2012.

Credit: Reuters/Lucas Jackson

NEW YORK | Wed Dec 26, 2012 2:05pm EST

NEW YORK (Reuters) - Actresses Natalie Portman and Kristen Stewart are Hollywood's most bankable stars and provide studios with the highest average returns for their films, according to Forbes.com.

Academy award winner Portman topped the list of best actors for the buck, providing about $42.70 for every dollar she earns.

"Black Swan," for which she won her best actress Oscar, was produced for an estimated $13 million and earned $329 million in global box office sales.

"We estimate that for every dollar Portman is paid by the studios, she returns $42.70. Compare that to Eddie Murphy, our most overpaid star, who returns $2.30 for every dollar he gets paid," Forbes.com said.

"Twilight" star Stewart was not far behind, bringing in $40.60. She also topped the Forbes list of highest-earning actresses with an estimated $34.5 million in salary in 2012.

"Stewart was able to earn a ton over the last three years and offer a healthy return thanks to 'Twilight,'" according to Forbes.com. "Even though she was paid $25 million to star in the last two films, she was clearly worth the money."

Forbes.com analyzed salaries, estimated box office grosses from the actor's last three films over the previous three years to calculate the studio's return on investment. The most bankable stars tended to be featured in the most profitable films.

Stewart's two co-stars in the "Twilight" films were also good investments for the studio. Robert Pattinson came in fourth with a return of $31.70 and Taylor Lautner was No. 6, making $29.50 for the studio for every dollar he was paid.

(This story was refiled to correct spelling of Kristen)

(Editing by Steve Orlofsky)


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Christmas box-office haul paces Hollywood for record year

Actor Dennis Christopher attends the 'Django Unchained' premiere in New York December 11, 2012. REUTERS/Andrew Kelly

Actor Dennis Christopher attends the 'Django Unchained' premiere in New York December 11, 2012.

Credit: Reuters/Andrew Kelly

By Eric Kelsey

LOS ANGELES | Wed Dec 26, 2012 2:37pm EST

LOS ANGELES (Reuters) - A strong Christmas-day box office performance by musical "Les Miserables" and western "Django Unchained" put Hollywood on pace to set an all-time box office record with $10.8 billion in annual revenue, box-office tracker Hollywood.com said on Wednesday.

Universal Pictures' star-studded "Les Miserables" took in a weekday Christmas record of $18.2 million in the United States and Canada when it opened on Tuesday, according to studio estimates of weekday ticket sales.

Quentin Tarantino's spaghetti western "Django Unchained," starring Jamie Foxx and Leonardo DiCaprio, hauled nearly $15 million for The Weinstein Co.

Studios "are definitely on the road to a record year with $10.8 billion expected (up 6 percent over last year and beating the previous record of $10.6 billion in 2009)," Hollywood.com analyst Paul Dergarabedian told Reuters in an email, adding that the number of tickets sold should climb 6 percent from 2011 to 1.36 billion.

Dergarabedian credits a successful marketing year for studios as a chief reason for the projected box-office record, as well as spring and summer smashes "The Hunger Games" and "The Avengers" helping boost revenue.

"It was not just the fact that most of the movies delivered, it was the timing of their release dates and the marketing was obviously effective as well with social media continuing to provide an outlet for the movie-going peer group to talk about their favorite flicks," Dergarabedian said.

"The Hobbit: An Unexpected Journey," based on the J.R.R. Tolkein classic fantasy novel, brought in $11.4 million on Christmas day after ruling the box office with nearly $37 million in sales over the weekend.

Billy Crystal family film "Parental Guidance" debuted in fourth place with about $6.4 million in Christmas sales while Tom Cruise's "Jack Reacher," which featured author Lee Child's character in an investigation into a sniper shooting, was fifth with some $5.3 million.

"The Hobbit" was distributed by Time Warner Inc's Warner Bros. Studio. News Corp's 20th Century Fox released "Parental Guidance" and Paramount Pictures, a unit of Viacom, released "Jack Reacher." Universal Pictures is owned by Comcast Corp.

(Reporting by Eric Kelsey; Edited by Ronald Grover and Andrew Hay)


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Film explores African-Americans' unhealthy "soul food" habit

By Harriet McLeod

Thu Dec 27, 2012 12:01pm EST

n">(Reuters) - After interviewing food historians, scholars, cooks, doctors, activists and consumers for his new film "Soul Food Junkies," filmmaker Byron Hurt concluded that an addiction to soul food is killing African-Americans at an alarming rate.

The movie, which will premiere on January 14 on U.S. public broadcasting television, examines how black cultural identity is linked to high-calorie, high-fat food such as fried chicken and barbecued ribs and how eating habits may be changing.

In the deeply personal film, Hurt details his father's fight and eventual death from pancreatic cancer. A high-fat diet is a risk factor for the illness, according to researchers at Duke University in North Carolina.

"I never questioned what we ate or how much," 42-year-old New Jersey-based Hurt says in the film that travels from New Jersey and New York to Virginia, Georgia, Mississippi, Louisiana and Chicago.

"My father went from being young and fit to twice his size."

Hurt, who also made "Hip-Hop: Beyond Beats and Rhymes," decided to examine the link between calorie-loaded soul food and illnesses among blacks after his father was diagnosed in 2006.

He delves into his family history, as well as slavery, the African diaspora and the black power movement in the film and provides photographs, drawings, historic film footage and maps.

In Jackson, Mississippi, Hurt joined football fans for ribs and corn cooked with pigs' feet and turkey necks. He also visited Peaches Restaurant, founded in 1961, where freedom riders and civil rights activists including Martin Luther King Jr. ate.

Hurt, whose family came from Milledgeville, Georgia, grew up on a diet of fried chicken, pork chops, macaroni and cheese, potatoes and gravy, barbecued ribs, sweet potato pie, collard greens, ham hocks and black-eyed peas.

"The history of Southern food is complex," he said. "In many ways, the term soul food is a reduction of our culinary foodways."

The origins of the diet lie in the history of American slavery, according to food historian Jessica B. Harris, who appears in the film. Slaves ate a high-fat, high-calorie diet that would allow them to burn 3,000 calories a day working, she explained.

Southern food began to be called soul food during the civil rights and black power movements of the 1960s, according to Hurt.

"There's an emotional connection and cultural pride in what they see as the food their population survived on in difficult times," he said.

But Hurt said African-Americans are being devastated by nutrition-related diseases.

Black adults have the highest rates of obesity and a higher prevalence of diabetes than whites, and are twice as likely to die of stroke before age 75 than other population groups, according to the U.S. Centers for Disease Control and Prevention.

Besides tradition and habit, poverty and neighborhoods without good supermarkets also contribute to an unhealthy diet, Hurt said.

"Low-income communities of color lack access to vegetables and have an overabundance of fast food and highly processed foods that are high in calories and fats. I always know when I'm in a community of color because I see ... very, very few supermarkets and health food stores," he added.

In her book, "High on the Hog: A Culinary Journey from Africa to America," Harris said the prevalence of overprocessed foods, low-quality meats, and second- or third-rate produce in minority neighborhoods amounts to "culinary apartheid."

In the film, Marc Lamont Hill, an associate professor of English education at Columbia University in New York, described minority health problems related to poor diet as "21st-century genocide."

Hurt says the government can help by increasing urban access to quality food and requiring calorie counts to be displayed on restaurant menus.

Nonprofit organizations such as Growing Power Inc., which runs urban farms in Chicago and Milwaukee, provide fresh vegetables to minority neighborhoods.

Brian Ellis, 21, said all he ate was fast food when he started working at one of Growing Power's urban farms in Chicago when he was 14.

"Then I started eating food I'd never seen before like Swiss chard," said Ellis, who appears in the film. "I never knew what beets were. I'd never seen sprouts before. I'm not that big of a beet fan, but I love sprouts. I could eat sprouts all day."

(Editing by Patricia Reaney and Mohammad Zargham)


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Jack Klugman, famed for TV role on "The Odd Couple," dead at 90

Actor Jack Klugman, star of the TV series ''The Odd Couple'', speaks about writer, director and producer Garry Marshall who received the Legend Award at the taping of the 6th annual TV Land Awards in Santa Monica June 8, 2008. REUTERS/Fred Prouser

Actor Jack Klugman, star of the TV series ''The Odd Couple'', speaks about writer, director and producer Garry Marshall who received the Legend Award at the taping of the 6th annual TV Land Awards in Santa Monica June 8, 2008.

Credit: Reuters/Fred Prouser

By Piya Sinha-Roy

LOS ANGELES | Mon Dec 24, 2012 8:57pm EST

LOS ANGELES (Reuters) - Emmy-winning actor Jack Klugman, a versatile, raspy-voiced mainstay of U.S. television during the 1970s and early '80s through his starring roles in "The Odd Couple" and "Quincy, M.E.," died on Monday at the age of 90.

Klugman, whose pairing with Tony Randall on "The Odd Couple" created one of television's most memorable duos, died at his home in the Woodland Hills section of Los Angeles following a period of declining health, according to his son, Adam Klugman.

"He went very suddenly and peacefully ... he was there one minute and gone the next," the actor's son told Reuters, adding that the elder Klugman had "been in convalescent mode for awhile."

He said his father had lost his ability to walk and spent much of his time in bed. His wife of four and a half years, Peggy Crosby, former daughter-in-law of the late singer Bing Crosby, was with him when he died, his son said.

In addition to his TV success, Klugman enjoyed a healthy career on the stage as well as in movies and made successful forays into horse breeding and political activism. Not even the loss of a vocal cord to cancer in 1989 could silence him for long.

Klugman gained fame for playing slovenly sports writer Oscar Madison in the sitcom "The Odd Couple" - a role he also had played on Broadway - and then as a crusading coroner in the crime drama "Quincy, M.E."

"The Odd Couple," based on Neil Simon's play about two disparate divorced men forced to share an apartment, ran for five years on the ABC network, starting in 1970, but was never a hit during that time. Only through reruns did Klugman and co-star Randall, who played neat-freak Felix Unger, leave their mark as one of U.S. television's great sitcom teams.

"We had wonderful respect for one another, we liked working together but we never became friends," Klugman told the Miami Herald in 2005. "I think that was on account of me. I was withdrawn. I never let anybody get too close."

It was not until Klugman's cancer surgery, following years of heavy smoking and throat problems, that a friendship developed with Randall. Klugman had no voice and was glumly resigned to the end of his acting career, but with Randall's encouragement, he returned to the stage.

They resurrected their "Odd Couple" roles in a 1993 TV movie, and Klugman paid tribute to Randall, who died in 2004, in the memoir "Tony and Me: A Story of Friendship."

"Quincy, M.E.," which ran on NBC from 1976 to 1983, saw Klugman assume a heavy behind-the-scenes role. He recalled that he spent 20 hours a day working on the series, and he twice sued its producer, Universal Studios, for a share of the net profits he claimed were owed to him.

LOVE OF HORSES

Horses were perhaps Klugman's first love - both as a keen gambler starting in his teens and later as a breeder. One of his horses, Jaklin Klugman, finished third in the 1980 Kentucky Derby and earned millions as a stud.

Born Jacob Joachim Klugman on April 27, 1922, he grew up in a tough Philadelphia neighborhood. In 1945 a loan shark was after him due to gambling losses so he fled to Pittsburgh, where he studied drama at Carnegie Tech and worked several jobs to settle his debts.

Two years later in New York, Klugman appeared opposite Henry Fonda in the national stage production of "Mr. Roberts." In 1960, Klugman received a Tony nomination for his supporting role in the musical "Gypsy."

In Hollywood, Klugman had notable supporting roles in such films as "12 Angry Men" (1957), "Days of Wine and Roses" (1962) and "Goodbye, Columbus" (1969).

He won the first of three Emmys in 1964 for an appearance on the legal drama "The Defenders." Klugman and Randall each received Emmy nominations for each of the "Odd Couple" seasons, with Klugman winning in 1971 and 1973 and Randall in 1975.

Klugman also earned four Emmy nominations for NBC's "Quincy, M.E." His character, who stepped out of his role as medical examiner to solve murders that flummoxed the Los Angeles police, never had a first name.

Klugman is survived by Crosby, his second wife, whom he married in 2008 after a 20-year courtship; and two sons, Adam and David, from his first marriage to late "Match Game" panelist Brett Somers. Klugman and Somers were separated for more than 30 years of their 54-year marriage, which ended with her death in 2007.

(Reporting by Piya Sinha-Roy; additional reporting and writing by Dean Goodman; Editing by Steve Gorman and Paul Simao)


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Piano maker Steinway takes down "for sale" sign

The emblem of a historic Concert Grand piano build on May 11, 1892, is pictured during its refurbishing at the Steinway & Sons factory in Hamburg March 4, 2009. REUTERS/Christian Charisius

The emblem of a historic Concert Grand piano build on May 11, 1892, is pictured during its refurbishing at the Steinway & Sons factory in Hamburg March 4, 2009.

Credit: Reuters/Christian Charisius

By Greg Roumeliotis

NEW YORK | Thu Dec 27, 2012 9:33am EST

NEW YORK (Reuters) - Steinway Musical Instruments Inc, the famous manufacturer of pianos, saxophones and trumpets, said on Wednesday it had decided not to sell itself following a 17-month-long exploration of strategic alternatives.

An American icon synonymous with handmade grand pianos, Steinway has struggled to keep its production margins competitive amid stagnant sales, and has seen its shares plunge 10 percent year-to-date. Still, its third-quarter earnings last month offered signs that cost-cutting was paying off.

In a statement on Wednesday, Steinway said it had received several non-binding indications of interest in buying the company, following talks with other companies in the sector as well as private equity, yet these did not offer more value than its own strategic plan.

"We will continue to focus management's efforts on execution of that plan and we look forward to a prosperous 2013," Steinway CEO Michael Sweeney said in the statement.

An in-principle agreement to sell its band instrument division to an investor group led by two of its board members, Dana Messina and John Stoner, was also scrapped in light of the current operating performance of the band division, Steinway said.

In July 2011, Messina, Stoner and other members of management made an offer for Steinway's band instrument and online music divisions, prompting the company to set up a special committee in order to assess it.

Later that month, Steinway asked investment bank Allen & Company LLC to a assist the special committee on exploring strategic alternatives that could also include selling the whole company outright to other interested parties.

By October 2011, Messina had stepped down as CEO of the company after 15 years at the helm to pursue his bid, yet he remained a board member. He was replaced by Sweeney, a chairman of the board of Star Tribune Media Holdings and a former president of Starbucks Coffee Company (UK) Ltd.

Steinway said on Wednesday that it was continuing a separate process to sell its leasehold interest in New York's Steinway Hall building, situated on Manhattan's 57th Street, and was in talks with several parties.

According to its website, Steinway & Sons, the company's piano unit, opened the first Steinway Hall on 14th Street in Manhattan in 1866.

With a main auditorium of 2,000 seats, it became New York City's artistic and cultural center, housing the New York Philharmonic until Carnegie Hall opened in 1891. These days, Steinway Hall is a showroom for the company's instruments.

The Waltham, Massachusetts-based company's pianos have been used by legendary artists such as Cole Porter and Sergei Rachmaninoff and by contemporary ones like Chinese concert pianist Lang Lang.

(Reporting by Greg Roumeliotis in New York; Editing by M.D. Golan)


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Thursday 27 December 2012

"Les Miserables" movie relies on close-ups for emotional punch

Actors Russell Crowe, Anne Hathaway, Hugh Jackman, Amanda Seyfried and director Tom Hooper (L-R) pose for photographers as they arrive for the world premiere of ''Les Miserables'' in London December 5, 2012. REUTERS/Suzanne Plunkett

Actors Russell Crowe, Anne Hathaway, Hugh Jackman, Amanda Seyfried and director Tom Hooper (L-R) pose for photographers as they arrive for the world premiere of ''Les Miserables'' in London December 5, 2012.

Credit: Reuters/Suzanne Plunkett

By Christine Kearney

NEW YORK | Fri Dec 21, 2012 12:06pm EST

NEW YORK (Reuters) - For British director Tom Hooper, the key to turning "Les Miserables" from the wildly popular stage musical to a cinematic experience both sweeping and intimate, was all in the close-up.

The stage musical has left audiences around the world wiping away tears with its themes of justice, redemption and romantic and familial love. So bringing it to life on screen for fans and filmgoers was "hugely daunting," Hooper says.

Still, the Oscar-winning director of "The King's Speech," was ambitious, wanting to offer even more of the "intense emotional experience" that has kept fans returning to various stage productions since "Les Miserables" made its English language debut 27 years ago.

"I felt very aware of the fact that so many millions of people hold this close to their hearts and would probably sit in the cinemas in complete fear," Hooper told reporters about his big screen take on the tale of French revolutionaries rising up against powerful forces.

Movie stars Hugh Jackman, Russell Crowe and Anne Hathaway were all put through an intense audition and rehearsal process, to make sure they could sing take after take, live, with cameras positioned right in their face.

It also features a large ensemble including Amanda Seyfried and Eddie Redmayne, as well as Sacha Baron Cohen and Helena Bonham Carter who lead the comic relief song, "Master of the House."

"I thought the great weapon in my arsenal was the close up, because the one thing on stage that you can't enjoy is the detail of what is going on in people's faces as they are singing," Hooper said. "I felt (that) having to do a meditation on the human face was by far the best way to bring out the emotion of the songs."

That tactic may or may not have paid off for a movie that is seen as one of the front runners for Oscar awards in February. Early screenings of the film that opens on Christmas Day have moved some audiences. Critics have praised the performances, but given the movie as a whole less than top marks.

The movie reunites the same team that worked on the original musical, including French composer Claude-Michel Schonberg, lyricist Alain Boublil, and English language adapter Herbert Kretzmer. It adds one original song to the existing show, which includes the well-known "I Dreamed a Dream".

Jackman plays petty thief Jean Valjean, the protagonist of the story based on French writer Victor Hugo's epic 1862 historical novel "Les Miserables." Valjean transforms himself into a respected businessman but struggles for decades to escape the clutches of his nemesis, police inspector Javert (Russell Crowe), and along the way encounters factory worker Fantine (Anne Hathaway).

TIMELY MESSAGE

Inspired by films such as 1991's "The Commitments," singing was filmed live rather than later recorded in a studio to give the movie a more authentic feel.

Hathaway lost 25 pounds (11.3 kg) for the role and cut her long brown hair. She spent six months perfecting the task of crying and singing at the same time for "I Dreamed a Dream" and is a hot favorite for a best supporting actress Oscar.

In a twist of fate, Hooper had initially seen Hathaway singing to Jackman a boisterous version of the "Les Miserables" song "On My Own" at the 2011 Academy Awards ceremony, just when he was trying to decide whether to direct the film and was thinking about casting.

"I was sitting there, going: 'There is something very strange happening'," he joked. "Whatever happened, it certainly worked, because I ended up casting both of them."

Hooper said he took his inspiration mostly from Hugo's novel rather than any one stage production, and thus saw Crowe's Javert more as a "deeply honorable" character than a simplistic "bad guy" as portrayed in some productions.

The time also felt right, he said, to bring the story to a larger audience on the big screen.

"There are so many people hurting around the world because of social, economic, inequality and inequity. There is such anger against the system," he said, "whether it's the protests on Wall Street or in London at St Paul's, or the seismic shifts happening in the Middle East."

"'Les Miserables' is the great advocate of the dispossessed," Hooper said. "It teaches you the way to collective action is through passionate engagement with the people around you. It starts with love for the person next to you."

(Editing by Jill Serjeant and David Storey)


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Friday 21 December 2012

Soap operas give Brazil the edge in Mozambique rush

Women wait for fishermen to return with their catch in Costa do Sol, Maputo June 28, 2007. REUTERS/Siphiwe Sibeko

Women wait for fishermen to return with their catch in Costa do Sol, Maputo June 28, 2007.

Credit: Reuters/Siphiwe Sibeko

By Marina Lopes

ILHA DE MOCAMBIQUE, Mozambique | Fri Dec 21, 2012 10:35am EST

ILHA DE MOCAMBIQUE, Mozambique (Reuters) - Cackles, moans and gasps stream from the only police station on Ilha de Moçambique, a small island off the Mozambican coast, as five officers cluster around a small, battered television, their eyes glued to the figures arguing on the faded screen.

It is time for "Balacobaco" (slang for "awesome"), the Brazilian television soap opera that has taken the southern African nation by storm, and the officers are so engrossed they barely notice their chief of police behind them.

"Turn that off and get back to work," he barks.

In fish markets, hospital waiting rooms and government offices, Brazilian soap operas have become a Mozambican staple, underpinning a cultural bridge across the South Atlantic that Brazilian companies are rushing to exploit as memories of Mozambique's brutal 17-year post-independence civil war fade.

With the former Portuguese colony thought to be home to some of the world's biggest untapped coal reserves and enough natural gas to power Western Europe for more than a decade, the pickings are rich.

"Mozambique is a natural partner. We speak the same language, have the same origins," said Miguel Peres, the local chief executive of construction firm Odebrecht, which has been in Mozambique since 2006.

"The Portuguese colonized both countries, so we identify with their problems, the same problems we have in Brazil. So we feel comfortable doing business here and we see lots of opportunities."

Mirroring the primacy of "Balacobaco", which regularly attracts twice as many viewers as nightly news bulletins on state television, Brazilian mining giant Vale lays claim to being Mozambique's biggest foreign investor.

It has already spent $1.9 billion developing the Moatize coal mine in the northern province of Tete, and has plans to spend another $6.4 billion upgrading a 900-km (600-mile) rail line linking Moatize to the coast.

COMPETITION

Not that the Brazilians have the run of the place.

Even though the United States - along with apartheid South Africa - supported Renamo rebels against the communist-backed Frelimo party now in government, U.S. firms face few consequences nowadays and U.S. energy firm Anadarko rivals Vale in the sums it has poured into off-shore gas exploration.

In November, the firm sponsored a U.S. election day bash at the American Cultural Center in the capital, Maputo, complete with cheeseburgers, policy debates and a mock election.

Situated on the Indian Ocean, Mozambique is also well-placed to service Asia's energy-hungry, fast-growing economies, most notably China, and the attention foisted on Mozambique mirrors the new 'Scramble for Africa' playing out across the continent.

Chinese companies have recently renovated the domestic terminal at Maputo's airport and are building a ring-road for the bustling capital, construction work that has helped attract tens of thousands of Chinese nationals to Mozambique.

A Confucius Centre offering Chinese language classes subsidized by Beijing opened in Maputo in October, with a Mozambican choir singing the Chinese national anthem in fluent Mandarin.

So many Mozambicans have flocked to the institute's $30-a-month courses in its first month the center has had to double the number of classes.

"More people want to learn Chinese. They think it is the language of the future," institute director Xing Xianhong told Reuters.

South Korea, another Asian economy waking up to the potential of Africa, is planning to open an embassy in Mozambique next year.

As with Tanzania and Kenya to the north, Mozambique is also home to a large Muslim Indian community that has retained its strong ties - cultural, family and commercial - with the sub-continent.

SOAP SUCCESS

Yet Brazil remains the front-runner in the race to win Mozambique's heart, thanks to intangible cultural connections like the popularity of its soap operas.

"When Brazilian investors arrive here, no one can say they don't know who they are," said Selma Inocencia of Miramar Mozambique, the local arm of the Brazilian channel that makes "Balacobaco".

"They are present in the music we listen to, in the films we watch."

Miramar came to Mozambique in 1999, long before the resource boom that has attracted 4,000 Brazilians. With its grammatically simple Brazilian Portuguese and easy-to-relate-to plots, its soap operas have become an instant hit with Mozambique's 23 million people.

The story of "Balacobaco" revolves around Isabel, an architect, whose dreams of building a house dissolve when her husband gambles their savings away.

"I can identify with a character in every novela," said Daisy Mogne, a 24-year-old communications student. "They make me feel understood and help me see that there are people all over the world with the same problems and joys as me."

Miramar now supplements its output with local content, modeled on a Brazilian template.

"Some people criticized us. They said that we wanted to "Brazilify" the Mozambican. But at the end of the day it is a question of identifying with the market," Inocencia said.

A country with deep African roots, celebrated for lifting itself out of poverty, Brazil's appeal is that of a successful older sibling.

Former Brazilian President Lula da Silva emphasized Brazil and Mozambique's shared struggles with Portuguese colonialism when he spoke of Brazil's "sacred" relationship with Africa at a conference in Maputo last month.

"We look to Africa as a partner, not with pity," he said, urging greater ties between the world's emerging economies. "The Chinese may be here, but they don't have a third of our charm."

(Editing by Ed Cropley and Sonya Hepinstall)


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"It's a Wonderful Life" is top Christmas film with critics

NBC television network will air director Frank Capra's classic movie ''It's A Wonderful Life'' starring Jimmy Stewart (C), shown with the film's cast in an undated publicity photo, on December 25, 2000 (8-11p.m. ET). REUTERS/Handout Old

NBC television network will air director Frank Capra's classic movie ''It's A Wonderful Life'' starring Jimmy Stewart (C), shown with the film's cast in an undated publicity photo, on December 25, 2000 (8-11p.m. ET).

Credit: Reuters/Handout Old

LOS ANGELES | Fri Dec 21, 2012 10:04am EST

LOS ANGELES (Reuters) - When it comes to Christmas films, "It's a Wonderful Life" can still melt critics' hearts nearly 70 years after it was released, according to a survey of the best-reviewed Christmas films.

The survey, to be released on Friday by review aggregator Rotten Tomatoes, found that the 1946 redemption story starring Jimmy Stewart edged out the 1942 Bing Crosby and Fred Astaire musical "Holiday Inn" and Tim Burton's 1993 stop-motion fantasy "The Nightmare Before Christmas."

World War Two drama "Stalag 17," released in 1953, and 1947's "Miracle on 34th Street" round out the top five.

"It's a Wonderful Life" vaulted to the top spot from No. 5 in 2009, when the list was last compiled, bumping "The Nightmare Before Christmas" from its best-reviewed status.

Films that use the holiday as a backdrop for the plot such as 1988's "Die Hard," which was No. 6 on the list, and 1983's "Trading Places" at No. 9, were also eligible, the website said.

Rotten Tomatoes, which analyzes film reviews and assigns a score based on total critical reception, applied that same formula to Christmas films for the list, Matt Atchity, the website's editor in chief, told Reuters.

"You look at the list and it's all the classics ... the cream floats to the top," Atchity said, adding that the rankings were weighted to reflect the amount of reviews a film received, which could artificially boost or decline a score.

Films from the 1960s and 1970s were notably absent from the list. Atchity said studios were more focused at that time on work by big-name directors than on seasonal films.

Here are the 25 best-reviewed Christmas films of all time, according to website Rotten Tomatoes:

* "It's a Wonderful Life" (1946)

* "Holiday Inn" (1942)

* "The Nightmare Before Christmas" (1993)

* "Stalag 17" (1953)

* "Miracle on 34th Street" (1947)

* "Die Hard" (1988)

* "Arthur Christmas" (2011)

* "A Christmas Story" (1983)

* "Trading Places" (1983)

* "Rare Exports: A Christmas Tale" (2010)

* "Lethal Weapon" (1987)

* "A Midnight Clear" (1992)

* "A Christmas Tale" (2008)

* "While You Were Sleeping" (1995)

* "Scrooge (A Christmas Carol)" (1951)

* "Elf" (2003)

* "Kiss Kiss, Bang Bang" (2005)

* "Gremlins" (1984)

* "The Santa Clause" (1994)

* "The Bishop's Wife" (1947)

* "Bad Santa" (2003)

* "8 Women" (2002)

* "Batman Returns" (1992)

* "White Christmas" (1954)

* "The Ref" (1994)

The full list can been seen ">here

(Reporting by Eric Kelsey, editing by Jill Serjeant and Stacey Joyce)


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Moroccan road film subverts Hollywood stereotypes

By Andrew Hammond

DUBAI | Fri Dec 21, 2012 8:50am EST

DUBAI (Reuters) - When director John Slattery first visited Morocco, the familiarity was jarring - and as removed from the images of an exotic Orient conjured up by Hollywood as possible.

That dichotomy between the representation and the reality of Morocco drives Slattery's charming paean to a country he clearly loves and makes "Casablanca, Mon Amour" a thoughtful rejoinder to U.S. popular culture.

Two young Moroccans spend three weeks travelling their native country, filming what they see on a digital camera while passing by studios and locations that have formed the backdrop for many Hollywood blockbusters, an industry Morocco has cultivated.

The film is spliced with shots of endearingly bemused or nervous ordinary people giving their thoughts to the camera about Hollywood and its global stars, as well as clips from classics such as "Casablanca" featuring off-the-cuff anti-Arab slurs like "you can't trust them" and "they all look alike".

"We had the idea of going on this trip and to be this stupid American film crew going to make this traditional movie using Morocco, but we wanted to subvert that," Slattery said after a screening at the Dubai international film festival this week.

"There was not really a script but the trip was their trip and so wherever they went we followed them. So that way they were really directing the film."

Shot by Hassan, who narrates the road trip in French, the images shift from scenes of daily life caught on camera, to his comically testy relationship with his travelling companion Abdel, to a troupe they stumble upon in Meknes that plays traditional Moroccan "malhoun" music.

Hassan, a real-life film school student at the time, is using the road trip for a class project, while Abdel wants to visit a dying uncle on the other side of the country.

Slattery includes footage from Moroccan television from the Marrakech film festival in which comic actor Bashar Skeirej declares that "a country without its own art will never have a history".

It's a subtle suggestion that the government should do more to promote domestic film rather than just rent out landscapes for Hollywood misrepresentation.

Morocco has formed the backdrop for a fictionalized Orient in "Ishtar", doubled as Abu Dhabi in the "Sex in the City 2" and been various distant planets in Star Wars films.

"National cinemas in many countries are being destroyed or have been destroyed because of this massive power of marketing that is Hollywood," said Slattery, a California-based American of Irish origin. "They destroy little films, they destroy the possibility for little stories."

The film, a labor of love that took Slattery seven years to complete, borrows from the book "Reel Bad Arabs", author Jack Shaheen's study of Hollywood's anti-Arab stereotypes. Its title references Alain Resnais's 1959 French New Wave classic "Hiroshima, Mon Amour".

"(When) I would say 'Morocco', people would say 'were you scared', or a polite 'what was that like?'," Slattery said, recounting reactions in the United States when he would talk about his first experiences as a peace corps volunteer.

"There was that whole category of fear in the responses, or 'Morocco, you must have seen Lawrence of Arabia', or 'Blackhawk Down'! - all these film titles. That stuck with me, this fear and movies were the two references for Morocco."

Yet Slattery's first day in the North African country could not have been more mundane, he said.

A colleague whisked him off to a rural home near Rabat where he met farmers who reminded him of Ireland.

"This guy opens (his door) in a tweed jacket that was all torn up. This is how these old farmers dress in Ireland, and his hands were all calloused and dirty. It just felt very familiar to me," Slattery said.

"His grandmother had a television hooked up to a car battery for electricity. I spent the weekend there, hanging out with these people, cutting hay and stuff, and I just thought 'this is Ireland'."

(Editing by Paul Casciato)


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Comedienne Rebel Wilson to host MTV Movie Awards

LOS ANGELES | Thu Dec 20, 2012 11:50pm EST

LOS ANGELES (Reuters) - "Pitch Perfect" star Rebel Wilson will host the 2013 MTV Movie Awards and give a new drama-infused spin to the annual ceremony, the cable television channel said on Thursday.

Wilson, 28, will play host and star by acting in a satirical narrative throughout the April 14 awards show in Los Angeles.

The Australian comedienne who appeared in the 2011 comedy hit "Bridesmaids," gave a sneak peak of the show in a promotional trailer (at MovieAwards.MTV.com.) in which she plays a stone-faced hostage hiding a candy bar in her mouth for a necessary snack.

The trailer hints at a possible role for Wilson's real-life roommate, British actor Matt Lucas, who plays Wilson's captor.

The MTV Movie Awards offer a zany take on Hollywood's usual buttoned-up, black tuxedo and gown awards season.

MTV hands out golden popcorn-shaped trophies in categories such as "best kiss" and "best fight." The awards categories pay respect to blockbuster hits likely to be overlooked by industry stalwarts the Oscars and Golden Globes.

Previous hosts include Lindsay Lohan, Mike Myers and Jimmy Fallon.

(Reporting by Eric Kelsey; editing by Philip Barbara)


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Judd Apatow makes it a family affair in 'This is 40'

Writer/director/producer Judd Apatow arrives with his family and cast members (L-R) Iris Apatow, Maude Apatow and Leslie Mann at the premiere of the movie ''This is 40'' at Grauman's Chinese Theatre in Hollywood, California December 12, 2012. REUTERS/Patrick T. Fallon

Writer/director/producer Judd Apatow arrives with his family and cast members (L-R) Iris Apatow, Maude Apatow and Leslie Mann at the premiere of the movie ''This is 40'' at Grauman's Chinese Theatre in Hollywood, California December 12, 2012.

Credit: Reuters/Patrick T. Fallon

By Zorianna Kit

LOS ANGELES | Thu Dec 20, 2012 5:40pm EST

LOS ANGELES (Reuters) - Filmmaker Judd Apatow is one of Hollywood's top names in comedy, often drawing on his own experiences.

On Friday, Apatow directs and produces "This is 40," a comedy he wrote centered around the family first seen in his 2007 hit "Knocked Up" - Debbie (played by Apatow's real-life wife Leslie Mann), her husband Pete (Paul Rudd) and their two children, played by Mann and Apatow's actual daughters, Iris and Maude.

Five years on from the raunchy pregnancy comedy, the new movie shows Pete and Debbie struggling through the ups and downs of marriage, parenting, work and finances now that they have entered their forties.

Apatow, 45, sat down with Reuters to talk about how his real-life family inspired a film he calls "a fabricated mutated version of our lives."

Q: Did you always know you would revisit these characters down the road?

A: "No, there was no part of me that considered it at all. I was pushing for the 'Superbad' sequel hard, but I couldn't get anybody to go for it. Then after I shot 'Funny People,' I started thinking about how many strange things were happening in my house. There were so many tensions, the girls were fighting, Maude started junior high school and there was so much happening emotionally.

"In the middle of the night it hit me: Pete and Debbie. And last we saw Maude, she was a little girl who didn't understand how babies were born and now she's a teenager."

Q: This project was a family affair. Was it important to have your wife and kids involved?

A: "Yes. The key for me was that 3/4 of the family was a real family so when they looked at each other, you could tell they love each other or they're hating each other and the emotions are very real. I have a pet peeve about kids in movies in that it's very rare that they seem like a family. I knew that if I did my process with my family and my children, something really alive would come out of it."

Q: You're 45 years old and your wife is 40. You probably could not have explored these themes earlier, right?

A: "I did this movie right when it was happening in my life. In a lot of ways, I'm just tracking my life. I did (the TV show) 'Freaks and Geeks' while I still remembered high school. And in a lot of ways, 'Knocked Up' is that period right after college of people not being sure what to do and dealing with how mature or immature they want to be."

Q: Would you say this movie is your most mature film to date?

A: "I don't know. I never think of it in those terms. I think in a lot of ways, nobody wants to be mature. I go visit my grandmother in a nursing home - she's 90 - and they all have the same issues: who sits where in the cafeteria, the cool people at one table ... The whole idea that anyone is mature, I think is a lie. Anyone who puts that facade of having their act together, I find is the first person who gets in trouble doing something in secret."

Q: Your wife has appeared in many of your films, but this is her largest on-screen contribution. Do you cast her because it's convenient, or because she's the best for the role?

A: "Sometimes I think, could someone else play this part? Am I doing this with Leslie because it's Leslie? I'll try to run the names - who would I have cast if it wasn't Leslie? And I can't think of anybody. There's zero people on that list who act that well, are that emotionally vulnerable, who could play comedy and drama simultaneously in the same scene, who go that deep. So that's the appeal for me: knowing someone that intimately who's so amazing at what she does, and then makes a gigantic writing contribution."

Q: What kind of writing contribution?

A: "With these movies, I don't write them and hand them to Leslie. They're written with her as my partner. I'm telling her the idea before I start writing and she'll say, you should talk about how good it feels when strangers hit on you, or you could do a scene based on that time the hockey team hit on me and my friends. That's the kind of collaboration that you can't get from someone you're not intimate with."

Q: What makes the two of you click on that level?

A: "Leslie comes at this as an actress. Being around her, and what interests her, has drawn me towards something that's more truthful and goes deeper. Her wanting to put herself out there completely makes me want to put myself out there completely."

Q: Will we see more of Debbie and Pete and their kids?

A: "I like the idea of it. If you said to me that 40 years from now there were five movies that track the arc of their lives, that would be the greatest thing ever. So I don't know if we'll do it, but I'm not closed to it."

(Editing by Jill Serjeant)


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"It's a Wonderful Life" is top Christmas film with critics

LOS ANGELES | Thu Dec 20, 2012 6:55pm EST

LOS ANGELES (Reuters) - When it comes to Christmas films, "It's a Wonderful Life" can still melt critics' hearts nearly 70 years after it was released, according to a survey of the best-reviewed Christmas films.

The survey, to be released on Friday by review aggregator Rotten Tomatoes, found that the 1946 redemption story starring Jimmy Stewart edged out the 1942 Bing Crosby and Fred Astaire musical "Holiday Inn" and Tim Burton's 1993 stop-motion fantasy "The Nightmare Before Christmas."

World War Two drama "Stalag 17," released in 1953, and 1947's "Miracle on 34th Street" round out the top five.

"It's a Wonderful Life" vaulted to the top spot from No. 5 in 2009, when the list was last compiled, bumping "The Nightmare Before Christmas" from its best-reviewed status.

Films that use the holiday as a backdrop for the plot such as 1988's "Die Hard," which was No. 6 on the list, and 1983's "Trading Places" at No. 9, were also eligible, the website said.

Rotten Tomatoes, which analyzes film reviews and assigns a score based on total critical reception, applied that same formula to Christmas films for the list, Matt Atchity, the website's editor in chief, told Reuters.

"You look at the list and it's all the classics ... the cream floats to the top," Atchity said, adding that the rankings were weighted to reflect the amount of reviews a film received, which could artificially boost or decline a score.

Films from the 1960s and 1970s were notably absent from the list. Atchity said studios were more focused at that time on work by big-name directors than on seasonal films.

Here are the 25 best-reviewed Christmas films of all time, according to website Rotten Tomatoes:

* "It's a Wonderful Life" (1946)

* "Holiday Inn" (1942)

* "The Nightmare Before Christmas" (1993)

* "Stalag 17" (1953)

* "Miracle on 34th Street" (1947)

* "Die Hard" (1988)

* "Arthur Christmas" (2011)

* "A Christmas Story" (1983)

* "Trading Places" (1983)

* "Rare Exports: A Christmas Tale" (2010)

* "Lethal Weapon" (1987)

* "A Midnight Clear" (1992)

* "A Christmas Tale" (2008)

* "While You Were Sleeping" (1995)

* "Scrooge (A Christmas Carol)" (1951)

* "Elf" (2003)

* "Kiss Kiss, Bang Bang" (2005)

* "Gremlins" (1984)

* "The Santa Clause" (1994)

* "The Bishop's Wife" (1947)

* "Bad Santa" (2003)

* "8 Women" (2002)

* "Batman Returns" (1992)

* "White Christmas" (1954)

* "The Ref" (1994)

The full list can been seen ">here

(Reporting by Eric Kelsey, editing by Jill Serjeant and Stacey Joyce)


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Hundreds pay tribute to legendary Indian sitarist Ravi Shankar

Family members address the crowd during memorial services for sitar legend Ravi Shankar in Encinitas, California December 20, 2012. Shankar died December 11 at the age of 92. REUTERS/Sam Hodgson

Family members address the crowd during memorial services for sitar legend Ravi Shankar in Encinitas, California December 20, 2012. Shankar died December 11 at the age of 92.

Credit: Reuters/Sam Hodgson

By Roselle Chen

ENCINITAS, California | Thu Dec 20, 2012 7:02pm EST

ENCINITAS, California (Reuters) - Ravi Shankar's daughters, Norah Jones and Anoushka Shankar, along with the wife of late Beatle George Harrison said their final goodbyes to the Indian sitar virtuoso on Thursday at a public memorial service in Encinitas, California.

The legendary musician and composer, who helped introduce the sitar to the Western world through his collaboration with The Beatles, died on December 11 in Southern California. He was 92.

About 700 people joined Shankar's wife, Sukanya, and family at the service held at a spiritual center in the coastal town about 25 miles north of San Diego.

Olivia Harrison, the widow of Beatles guitarist George Harrison, told Reuters the three-time Grammy winner who formed a musical and spiritual bond with The Beatle "expressed music at its deepest level."

"As a person he was just sweet and seemed to know everything," she added. "He was a true citizen of the world."

Shankar is credited with popularizing Indian music through his work with violinist Yehudi Menuhin and The Beatles beginning in the mid-1960s, inspiring George Harrison to learn the sitar and the British band to record songs like "Norwegian Wood" (1965) and "Within You, Without You" (1967).

"He completely transformed (George's) musical sensibilities," a tearful Harrison told the crowd. "They exchanged ideas and melodies until their hearts and minds were intertwined like a double helix."

'LITTLE CRUMB'

His friendship with Harrison led him to appearances at the Monterey and Woodstock pop festivals in the late 1960s and the 1972 Concert for Bangladesh. He became one of the first Indian musicians to become a household name in the West.

His influence in classical music, including on composer Philip Glass, was just as large. His work with Menuhin on their "West Meets East" albums in the 1960s and 1970s earned them a Grammy, and he wrote concertos for sitar and orchestra for both the London Symphony Orchestra and the New York Philharmonic.

"I always felt like a little crumb in his presence," Zubin Mehta, a former music director of the New York Philharmonic and collaborator with Shankar, said at the service.

Jazz pianist Herbie Hancock also attended the service along with "Anna Karenina" director Joe Wright, the husband of Shankar's daughter Anoushka.

Shankar, who had lived in Encinitas for the past 20 years, had suffered from upper respiratory and heart issues over the past year and underwent heart-valve replacement surgery last week at a hospital in San Diego.

The surgery was successful but he was unable to recover.

Shankar's final concert was on November 4 in Long Beach, California, with his Grammy-winning sitarist daughter Anoushka, who spoke giving thanks to those who came. Jones, the third Grammy-winner in the family, did not speak at the service.

(Writing by Eric Kelsey; editing by Philip Barbara)


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Thursday 20 December 2012

Israeli Arab wrestles with grief, guilt in suicide bomb film

(L-R) Director Ziad Doueiri and actors Karim Saleh, Ramzi Maqdisi and Ali Suliman attend a photocall following the screening of ''The Attack'' on the fifth day of the San Sebastian Film Festival September 25, 2012. REUTERS/Vincent West

(L-R) Director Ziad Doueiri and actors Karim Saleh, Ramzi Maqdisi and Ali Suliman attend a photocall following the screening of ''The Attack'' on the fifth day of the San Sebastian Film Festival September 25, 2012.

Credit: Reuters/Vincent West

By Andrew Hammond

DUBAI | Thu Dec 20, 2012 9:50am EST

DUBAI (Reuters) - When Universal Studios took a disliking to the script for Ziad Doueiri's Israeli-Palestinian suicide bombing drama, the Lebanese director thought his career was over.

Six years later "The Attack" is garnering interest on the festival circuit, winning praise in Toronto, an award in Marrakech, and wowing audiences at the Dubai international film festival in the United Arab Emirates this week.

"When they got the script they rejected it, and they not only rejected it, they pulled the project and kept the script. We had a three-year legal battle to try and get it back," Doueiri, whose 1998 debut "West Beirut" drew praise at Cannes, said after a screening.

"I understand the sensitivity of the film and I knew at the start it had a lot of landmines along the way. We knew we were going to have people who oppose it on the Arab side and the Jewish side."

Now he has distribution in 40 countries including the United States for a dark love story where an Arab Israeli surgeon, Amin Jaafari, who is a model of successful integration in Jewish society is on a mission to find out if his wife Siham was the suicide bomber who killed 17 children at a birthday party.

In the opening scene he is honored at a ceremony for his work, offering platitudes in a speech about Arab and Jewish coexistence, the next day he is thrown into brutal detention as the suspect husband of a terrorist.

Eventually released after police realize he knew nothing about the attack, the surgeon, played with gripping understatement by Ali Suliman, begins to see that perhaps his wife of 15 years had done it after all.

He follows clues that lead to Nablus in the Palestinian territories where he finds Siham's posters plastered on walls as a martyr and locals treating him as a turncoat.

Towards the end he takes a trip to Jenin - site of an Israeli operation in 2002 that left dozens of Palestinians dead - in a scene that Doueiri said was meant to signify that Amin understood what drove his wife though he didn't condone it.

Doueiri said graffiti on the ruins of homes in Jenin reading "Ground Zero" - a reference to the site of New York towers destroyed in the 9/11 attacks in 2001 - was one scene that particularly riled his original U.S. collaborators.

Amin also realizes that while he was a part of Israeli society, his wife had felt like an outsider.

"It's about this man who is absolutely attached to his wife, who believed at the beginning of the film that he could be very well-integrated into Israeli society," Doueiri said. "Only, at the end there's that truth that comes up that the bottom line is there's us and there's them."

The film has already drawn sharp reactions in the Arab world, with some Algerian media accusing Doueiri of defiling the novel that inspired it, by Algerian writer Yasmina Khadra, and Moroccan Islamists accusing it of being pro-Israel.

Much of the film's dialogue is in Hebrew.

Doueiri and fellow scriptwriter Joelle Touma altered a number of elements in Khadra's ending, in which Amin dies in an Israeli drone strike as he confronts the sheikh who mentored his wife.

The film has the surgeon return to Tel Aviv, living with his guilt but shunned by friends for not revealing what he knows to the authorities - a shift reflecting Doueiri's ambitious intersection of the personal and the political.

"We wanted to show that Amin has an incredible moral problem by his wife killing innocents. If she had blown herself up at a military checkpoint, Amin would not have had such a big problem," Doueiri said.

"I challenge anyone to tell me I took the side of the Israelis. I just wanted to make a film where I did not shout slogans and soundbites. We had that for years."

The Attack has echoes of "Paradise Now", another suicide bomb film - also starring Nazareth-born Ali Suliman - which won international acclaim.

"It was shown in Toronto and when American producers saw it they wanted to distribute it again," Doueiri said. "I thought we really nailed the script, so we didn't give up the fight."

(Editing by Paul Casciato)


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