(Linda) The category may not have been good, but at least he was in the same segment as Paul Neumann. But Newman and Brando were the examples of Bad Boys. Colin was the Nice Guy (stiff and starchy who ultimately stands around and then gets the girl). Overall, it was an idiotic show. Is there really anyone who wasn't mentioned? ;-) And so many of the people who commented...WHO were they?? I also watched the Top 20 Sexy Movie Scenes show. Pathetic. True, they had the good ones in there (both Thomas Crowns, The Big Easy, Against All Odds, L scene from Risky Business) that could not be overlooked and I wouldn't quibble with No. 1 (Body Heat), but some of the others were ludicrous IMO. FYI, Colin's portion, which showed stills from BJD, was not the only one. The English Patient was stills only. I'd say it was a Miramax thing, but there was a clip from The Unbearable Lightness of Being, also Miramax.

FYI, Bad Boys were part of the Unlikely group.

(Moon)Spotless Mind got tops 4 stars from the Miami Herald. Go Charlie! Same from the Philly Inquirer and many other papers. Charlie Kaufmann can't seem to set a foot wrong. Haven't looked that closely at the credits, but it doesn't seem as though "Donald Kaufmann" was involved.;-) (Linda)But he should be used to it as any actor who has been on both sides of the fence-art house vs big budget. That's the way it is. Agreed. It never ceases to amaze me how people who work in or report on the film industry just don't "get" the business end of it. Master & Commander cost well over $100 million to make, so of course they'd spend another $40 million to advertise it (am pretty sure my numbers are close). You have to spend money to make money. They couldn't let it fly under the radar or they'd never have a prayer of a chance to get their their investment back. Ditto X-Men. On the other hand, they're not going to spend $40 million to advertise a film that probably cost less than $5 million. It's like slaying a housefly with an atomic bomb. Weird analogy, but you get my drift.

(Karen) BTW, Young Adam got an NC-17 rating and will be released uncut in April. Hoorah! We get to see it as-is. NC-17 is not X. Debbie Does Dallas 2 would not have an NC-17 rating because it would never be submitted to the MPAA, which hold the copyright to those ratings. "Debbie" would have an X or Triple X or whatever they put on them. Why do people equate NC-17 with porn? *shaking head* They may *say* they are rating it that way for the fully clothed scene, but will bet my last dollar it's for the one or 2 scenes with Ewan's full frontal nudity. Not very lingering shots, but still there....at least when I saw it. Tilda Swinton is also fully nude, if I recall correctly, but of course, that's no problem. Also, there's a very odd scene where he's throwing all kinds of food and stuff all over his girlfriend that I imagine they could take umbrage with.

(Moon)Spotless Mind got tops 4 stars from the Miami Herald. Go Charlie! (Mari) Same from the Philly Inquirer and many other papers. Charlie Kaufmann can't seem to set a foot wrong. Haven't looked that closely at the credits, but it doesn't seem as though "Donald Kaufmann" was involved.;-) You know, I've seen nothing but stellar reviews for this movie and I want to know, how many of these people went into this movie blind like I did? How many didn't read they're press kits or something about it before going? Because I'm curious if they would've been able to keep track of everything that was going on without some tips. I knew nothing about it other than the name and a few of the stars. I was not that enamored of it throughout, mainly because I found it all over the place. Had a hard time discerning reality and memories and their meaning and order. Lots of jumping around. As I said before, it was an incredibly complex and ambitious script by Charlie Kaufman, and I appreciate that. But it wasn't til we had the discussion after, with 2 of the producers, that most of it made more sense and I sort of started to like it. Maybe I was just dense. Definitely one that will need a repeat viewing on DVD. (Mari) Master & Commander cost well over $100 million to make, so of course they'd spend another $40 million to advertise it (am pretty sure my numbers are close). You have to spend money to make money. They couldn't let it fly under the radar or they'd never have a prayer of a chance to get their their investment back. Domestically I don't think it did as well as they hoped, so they actually probably didn't or won't unless international and DVD sales were awesome.

This is just a FYI from Entertainment Weekly, March 5th. Eh, now I know why I never got around to posting. It's 2003 The Year in Box Office. Since it's 132 films and multiple columns, I'm only going to give the placements for a select few--my select few;-) Through Feb 22, 2004. Top 5: LOTR, Finding Nemo, Pirates of the Caribbean, Matrix Reloaded, Bruce Almighty. Last 5: House of Sand and Fog, Confidence, Winged Migration, House of the Dead, and last, Swimming Pool.(132) Information included domestic box, foreigh box, total. Now my two selections for further elaboration;-) #50 Love Actually Domestic 59.5, foreign 176.0, total $235.4 #78 What A Girl Wants Domestic 36.0, foreign 4.4 total $40.4.

Colin was the Nice Guy (stiff and starchy who ultimately stands around and then gets the girl). He had me at hello. ;-) (Dorine), Had a hard time discerning reality and memories and their meaning and order. Lots of jumping around. As I said before, it was an incredibly complex and ambitious script by Charlie Kaufman, and I appreciate that. Hurray! A film that makes you think! Anytime over those reality based Indies of late. Secret Lives of Dentists? Oh, please! (Dorine), They may *say* they are rating it that way for the fully clothed scene, but will bet my last dollar it's for the one or 2 scenes with Ewan's full frontal nudity. And Ewan has stated so many times that he likes being naked in films. And he should be, looking vvg. :-) (Karen), they had the good ones in there (both Thomas Crowns, The Big Easy, Against All Odds, L scene from Risky Business) that could not be overlooked and I wouldn't quibble with No. 1 (Body Heat), but some of the others were ludicrous IMO. Agreed!

and the limo scene from No Way Out. All so memorable.

Colin was the Nice Guy (stiff and starchy who ultimately stands around and then gets the girl). (Moon)He had me at hello. ;-) He had me at Ding Dong!;-) Well, it was somewhat earlier than that... (Karen), they had the good ones in there (both Thomas Crowns, The Big Easy, Against All Odds, L scene from Risky Business) that could not be overlooked and I wouldn't quibble with No. 1 (Body Heat), but some of the others were ludicrous IMO. (Moon)Agreed! Oooo, Body Heat:-P I much agree and wonder what Adriane Lyne paid to get so many of his films in these shows? His willingness to show up for the interviews, perhaps.

(Karen) ...., they had the good ones in there But they missed one of my faves...Harrison Ford and Greta Scacchi on the desk in Presumed Innocent.

(Beedee) I much agree and wonder what Adriane Lyne paid to get so many of his films in these shows? His willingness to show up for the interviews, perhaps. LOL! No, I don't think so. That's Adrian Lyne's stock in trade. He's only made 8 films: 1.Unfaithful 2.Lolita 3.Indecent Proposal 4.Jacob's Ladder 5.Fatal Attraction 6.Nine 1/2 Weeks 7.Flashdance 8.Foxes and most have a common denominator. Hey, the guy has limited interests, but he does it so well.

(Karen) Why do people equate NC-17 with porn? *shaking head* Agree....There is a definite difference (IMO). (Dorine) They may *say* they are rating it that way for the fully clothed scene, but will bet my last dollar it's for the one or 2 scenes with Ewan's full frontal nudity. I love how they said that...As if they don't want to appear too 'stuffy'. A few years back (just a few), there was some fuss over the rating for Atame! (Tie Me Up Tie Me Down). I remember hearing that Almodovar wanted an R but was being told it would be an X. There were a few sex scenes and the board was saying that those, combined with the 'subject matter' (a young girl is essentially kidnapped and held captive by a man who wants to 'keep' her until she falls in love with him) made it a candidate for an X. Well...Almodovar or Banderas (cannot remember which now) made statements about how that exact theme was present in a G rated film (sans sex of course)..."Beauty and the Beast". Some time after those statements were made, the board granted them an NC-17 (something that Pedro couldn't really complain about...it was definte NC material...and his films in Spain often have the "no one under 18 admitted" mark on them (remember seeing this on "Law of Desire")). I think this film was one of the first to get that rating?? I may be wrong?? Does anyone know the first film?

(Tress)Does anyone know the first film? I don't know but here's a site for his filmography http://www.timesonline.co.uk/article/0,,7946-1042593,00.html

LOL, (sorry) that URL isn't for Almodovar, but for the next part of my post concerning the release of the LA DVD in the UK. Here's part of it the rest is here: http://www.timesonline.co.uk/article/0,,7946-1042593,00.html Grant arrives five minutes late, takes a call from his golf coach and is still great value, pouring amiable scorn on any scene involving Colin Firth. But perhaps the most telling moment comes in an interview with the producer, Duncan Kenworthy, who admits to insisting that Laura Linney�s object of obsession be a smouldering Latin type. His reason? Nobody could fantasise for two years about an Englishman. Here is the one for Almodovar: still LOL http://www.foreignfilms.com/person.asp?person_id=1003&hp=1

Linda! You helped answer my question! I read a few reviews of Atame! and one of the reviewers mentioned "Henry and June". That is the first film to receive the NC-17 rating (don't know how many saw it, but I think I slept through most of it when it came out....zzzzzz....). and a waaaaay too long (but somewhat interesting and often amusing) article from the BBC regarding American ratings: http://www.bbc.co.uk/dna/h2g2/alabaster/A220537 I think this foot note is my favorite: 4 However, any movie firm not in compliance is browbeaten into submission and sent to their room without any supper. If they persist, they will inevitably find themselves bankrupt. So much for freedom of choice. I, personally, will always go for unrated and uncut DVDs. Am still a bit miffed that Europe got to see the 'real' version of "Eyes Wide Shut" and we (even in DVD format) had to be 'protected' and were given a version that was cut and modified.

Good article on the MPAA, Linda. Always enjoy something so dripping in sarcasm. Thanks for posting. The difficulty here is not with the ratings system, but how the public perceives the ratings system, and how they react to it. So true, except for its far greater tolerance of blood, gore and violence. It's there for you, because in the 20th Century we all know how busy you are and how difficult it is to be an informed parent. Oh man, good one! ;-) (Tress) Am still a bit miffed that Europe got to see the 'real' version of "Eyes Wide Shut" Same here, but I got even more miffed when I found out that the European version of Tomorrow Never Dies contains the steamier love scene betweem Pierce Brosnan and Halle that was mentioned in the news. I may have to get that code-free DVD player in order to complete my collection of 007 fare, as I will absolutely *not* buy the American one now. Since PB is IMO the best screen kisser out there, I want to see this scene. ;-)

The fact that the public today tends to treat 'NC-17' in exactly the same way they use to treat 'X' Not me. X is still X. I see a lot of foreign films that are U (unrated). Those are always fun. ;-) But in Italy I have to monitor the TV my boys watch at night because of all the porno that is freely available as of 11pm. It is out-of-control there. Thanks for the article, Linda!

(Karen)Since PB is IMO the best screen kisser out there, I want to see this scene. ;-) ...especially when we get the back view of him on those marble stairs--I think that scene made it in both nights for Seducers and Seductive scenes.;-)No nice guy category, there.

Nice article on RZ . . . think it's OK to put here on O&E . . . Boss, please move/remove if I'm incorrect . .there was just a slight blurb about BJD/TEOR http://www.smh.com.au/articles/2004/03/21/1079823235751.html With a British accent to die for and showing tremendous guts to even tackle the role, she was the very funny, weight-battling Bridget Jones, desperately seeking love in Bridget Jones's Diary. (It earned her her first best actress nomination.) Recently she wound up the Bridget sequel Bridget Jones: The Edge Of Reason (to be released on December 26), teaming up again with Hugh Grant and Colin Firth, both once again battling for her hand. Looking glamorous and every inch the international movie star, Zellweger admits that she's still trying to lose the extra kilograms she had to put on to do the Bridget Jones sequel. "I had to gobble up all sorts of things to get that weight on again," she said. "You name it: ice-cream, doughnuts, pizza and pasta - I ate the lot." But the second time around was a much sweeter experience than when she first tackled Bridget. "This time I was so much more confident," she said. "Last time when I went to England they were out there with the knives because they were outraged that an American actress was playing this British icon. I could see they wanted a hometown girl in the part, because Bridget is the quintessential young, modern English working woman." But when the film came out everyone agreed that Zellweger proved she had the guts, the talent and the perfect accent to pull it off. And early word is that she's done it again in the sequel. "It was like old home week," she said of her return. "And this time they welcomed me with open arms."

(a) I am not a moving company or anybody's servant. (b) If it is about Bridget, it would go on TEOR page and, since the rest of the article isn't relevant, a link to it how to go. (c) I'm just deleting in the future. ~~~~~~~~~~~~~~~ Saw both The Reckoning and Eternal Sunshine. The Reckoning is amazingly similar to HOTPig insofar as the plot is concerned (dead boy, woman accused, weird lord of the castle, played by Vincent Cassel) but it has a more serious tone and the look/feel is closer to The Name of the Rose, with a touch of Illuminata for the backstage look a troupe of actors. That was the part I found most interesting: how the acting troupe put on its reenactments, the makeup, the costuming, and then development of a new play based on the murder they found in this village. The actors' discussions about whether to do something so radical and then the actual play, seemingly done off the cuff but complete and in verse. Really interesting. The village/castle sets looked terribly fake. FYI, a cute touch was Matthew MacFadyen (Tom from MI-5) who played the King's Justice. Some things never change. ;-) Oh yes, Paul Bettany was very good, and Gina McKee hardly had a part. Eternal Sunshine was definitely a film to admire for its uniqueness, but I've always liked Jim Carrey in his serious roles, like this one. I can't picture anybody else being able to pull this off. He and Winslet are wonderful. Was I confused? Yeah, some, but I'm pretty sure I knew what was going. I'd probably get even more out of it on a second viewing. (Moon, this is the same director who did Human Nature with Kaufman.)

(Moon, this is the same director who did Human Nature with Kaufman.) I had posted this info two days ago. ;-) I liked Eternal Sunshine. There was wonderful chemistry between the two. It is quite easy to follow, I was never confused. But I do have years of film classes behind me. It was a treat ot see a film that was worth a film class analysis once again.

Re: Moving Messages Apologies if my message sounded mean. I'm just tired of people always telling me to move something if I don't think it's on the right topic.

I'm sorry I didn't find this earlier . .. .The cast of Fraiser doing a staged reading of TIOBE - happened already though (ergh march 15th)- http://www.playbill.com/news/article/84933.html http://www.taperahmanson.com/show.asp?id=255

Am feeling v. smug.... Have been to see a sneak preview of Lars von Trier "Dogville" ahead of indi-literati on this board;-) This is a story (fable) about Grace (Nicole Kidman), a woman who wanders into the isolated Rocky Mountain hamlet of Dogville during the Depression. The town's residents don't know what to make of her, but young Tom (Paul Bettany,again) urges them to give her a chance and she agrees to work in exchange for shelter. All goes well til one day they find out she is wanted by the police, and from there it is all downhill for poor Grace, (and I might add the poor audience). I found the sparse setting facinating. Chalk lines indicating the houses, street names and gooseberry bushes. V. Brecht-like and Our Town in form. It is all fake and it becomesclear it is allegorical. The acting was terrific. Though I'm getting a little overload on Nicole Kidman (of the eyeliner). Paul Bettany is ordinary, Particia Clarkson v. good and the narrator (John Hurt)pretentious. On the surface this is a film about violence and intolerance in our society , but you soon get the idea that it is anti-bourgeoisie with a generous sprinkling of anti-Americanism thrown in for good measure. Mind you von Trier has never been to America (is afraid to fly) and plans to write two more films on America in this triology. I was not offended by the anti-American sentiments (am inured to them by now, perhaps) .The ending dialogue with NK and James Caan was so absurd, that I joined the audience laughing. Adding to the confusion was a photomontage depicting the squalor in the depression and recent photos (including a Richard Nixon photo[huh?]) that is scored to David Bowie singing "Young Americans." I can?t imagine anyone seeing this film except the arch-devoted artsy crowd, and socialists with an axe to grind. I say employ the (bring- a- tush...)3 hours looking at espisode 1, 2.&3.

LOl, that should be..."Bring a cush".. but if you have an extra "tush", it will come in handy;-)

Evelyn - Lucky lucky!!! I tried rsvcp-ing for the BAFTA screening of Dogville here in NYC but was too late . .Dorine was telling me that she also thought it was as long as you say . .ergh . . Perhaps this will wait till I it comes out on DVD and I can sit my tush on my v. comfy couch! Thanks for your insights on the film.

If I had checked my alt paper earlier yesterday, I could've seen it here too (plays again on the 24th, as part of the annual European Union FF at the Siskel Center). But I can wait until it opens....if not later. ;-) I had a feeling it wasn't all that good since it fell flat at Toronto and Lions Gate delayed its opening from the 4Q of last year.

For those in a quandary over tonight's programming, A&E will rebroadcast The Last King afterward, which will would be 12 midnight Eastern. I plan to tape it then, so I can watch it in more manageable segments and FF through the commercials. It'll then be reshown on Friday, starting at 8.

(Karen)Lions Gate delayed its opening from the 4Q of last year. Had it received better reviews I was afraid Lions Gate was going to push it ahead of GWAPE for Oscar noms. What was the story of Dogville at Cannes? I don'tremember that it was received there v. well And I would have thought it would be their cuppa.

(Karen)It'll then be reshown on Friday, starting at 8. I just looked that up in the TVWeek and it shows The Last King as only being 3 hours long then. I am confused. Are they throwing in an hours worth of commercials? Of course, I plan to tape it and FF, but I'm just a bit confused.

According to A&E website/schedule, it's on from 8-12 am, then 12-4 am. But, then on Friday March 26, it is on from 8-11 pm, then 12-3. More listings: Saturday 27 March: 1-4 pm Sunday 28 March: 11-2 pm

Thanks for the heads up re Dogville, Evelyn. Am seeing it either this Thurs night or next Sunday morning. Will be a long night for a 7pm screening. Maybe No-Doze is in order? ;-) All I remember about it at Cannes off the top of my head was that she'd said she'd do the others in the trilogy, but then said she wouldn't later. I think he tried to make her to promise to not smoke at Cannes either, but she dissed him on that, too. ;-) Thanks for the repeat info for The Last King, too. The wig on Rufus Sewall looks ok enough, but on Rupert Graves.....:-(.

Thanks for posting the additional showings of The Last King. My 13 day old telly went belly up Thursday evening so I have been TV free for some time. Took advantage of the time to indulge in embroidery and some of ODB's DVDs (no player, I watch on computer). As soon as I get my UPS Store mailbox, I can order some of the ones that I love or haven't been able to get at the local Blockbuster (Fever Pitch??? Try in the horror section. Yeah right, sonny) In the meantime, they should be bringing the replacement Tuesday eve, after work. Hopefully, this one will not die such an early death.

For anyone who'll be in the NYC area May 1-9.... Haven't decided if I'm volunteering again. :-/ May be too late now anyway. Maybe offhand chance a certain movie will be playing, though sounded like ME wasn't going this route. FROM: TRIBECA FILM FESTIVAL 375 Greenwich Street New York, NY 10013 GOVERNOR GEORGE E. PATAKI, ROBERT DE NIRO, JANE ROSENTHAL, AND CRAIG HATKOFF ANNOUNCE 2004 TRIBECA FILM FESTIVAL * * * Festival to Celebrate 10th Anniversary of Democracy in South Africa, Announces Year-Round Cultural Exchange Initiative [New York, NY � March 5, 2004] � Governor George E. Pataki and Tribeca Film Festival co-founders Robert De Niro, Jane Rosenthal, and Craig Hatkoff joined together today to announce that the blockbuster festival will once again return to downtown, bringing a broad array of gala premieres, independent films, compelling panels, and a reprise of the highly successful Family Festival. Also announced today were the first round of jurors for the 2004 Festival. They include Ellen Barkin, Chad Lowe, Chris Noth, Mary Louise Parker, Eddie Izzard, Bingham Ray, and Jeff Skoll. The Festival will also spotlight great Latin American filmmakers such as Academy Award nominated director Hector Babenco. Additionally, Elia Kazan, an award winning filmmaker, who died earlier this year, will be remembered with a tribute screening. The Festival will present an exclusive preview of DreamWorks� new animated comedy Shark Tale, featuring selected scenes from the movie and a special appearance by some of the film�s all-star voice talent. Opening nationwide on October 1, Shark Tale stars the voices of Will Smith, De Niro, Ren�e Zellweger, Angelina Jolie, Jack Black and Scorsese. Also shown will be United Artists� Coffee & Cigarettes, an ensemble comedy presented in a series of vignettes all revolving around discussions held over coffee and cigarettes, the topics of which include Nicola Tesla, alternative medicine, Paris, the movie industry, and more. The film features a diverse starring cast including Bill Murray, Steve Buscemi, Tom Waits, and Cate Blanchett. In production since the 1980s, the film is in black and white. The Festival will also be reviving one of its most popular programs: panel discussions by a wide variety of industry leaders. In 2004, the Tribeca Film Festival will host over 15 conversations and discussions with some of the most provocative filmmakers, directors, actors, producers and writers in the entertainment community. This year's schedule of panels will feature two discussions relating to music and film. Scorsese, a director who has made music a focal point in his films, will join with Vanity Fair contributing editor Lisa Robinson for a one on one conversation about the influence of music in his movies. In Music Fit for a King, Academy Award winner Shore will discuss his work on The Lord of The Rings trilogy. The Festival will also showcase, as one of several themed categories, the work of great Latin American filmmakers. Academy Award nominated director Babenco�s film Carandiru, a Sony Pictures Classsics Release, will be shown and is a film based on the real life experiences of doctor Drauzio Varella inside Brazil�s dreadful state penitentiary Carandiru. The Festival will also screen Prisoner of the Iron Bars: Self Portraits, a separate film comprised of video captured when some of Carandiru�s inmates were given camcorders to document their experiences. Other films coming to the festival include an adaptation of Dorothy Allison�s novel Cavedweller directed by Lisa Cholodenko and starring Bacon, Sedgwick, Aidan Quinn, and Sherilynn Fenn, the psychological thriller The 24th Day directed by Tony Piccirillo with Scott Speedman and James Marsden, and A Hole in One, the debut film by writer/director Richard Ledes that stars Michelle Williams and Meatloaf. The festival will run from May 1 through May 9. Once again, there will be a family festival that runs concurrently with the festival on the two weekends (May 1-2 and May 8-9.) There will be several films including Thunderbirds, a new family action adventure from Universal Pictures and Working Title, starring Bill Paxton, Sir Ben Kingsley, Anthony Edwards and others. The street fair will be a fun-filled experience for families that will unfold along Greenwich Street with food entertainment, and family activities all day long. From 10am to 6pm on May 8, there will be special performances on multiple festival stages, along with crafts, games, storytelling, art shows, and character appearances. ... the Festival�s program consists of more than 150 features, documentaries and shorts, screened alongside gala premieres of major studio releases. The Festival offers the excitement of premiere screenings with directors and stars in attendance weeks or months before their movies are released commercially, as well as the opportunity to see some offbeat, hard-hitting movies that may not resurface for years. For the filmmakers who participate, it�s a chance for both beginners and veterans to present their work to an audience of New York�s uniquely diverse and curious viewers. Tickets for film screenings, panel discussions and other events will be on sale to the public in mid-April. For more information on the Tribeca Film Festival and to purchase tickets, the public should visit the Tribeca Film Festival website at www.tribecafilmfestival.org or call 1-866-941-FEST (3378). The Tribeca Film Festival was founded by De Niro, Rosenthal and Hatkoff to celebrate New York City as a major filmmaking capital and to contribute to the longterm recovery of lower Manhattan after the attacks of September 11, 2001. American Express is the Founding Sponsor of the Tribeca Film Festival. As part of an ongoing collaboration with the Fondazione Prada, highlights from the Festival will travel to Milan in late May for a three day festival from May 25-28, 2004.

Dorine . .I may join you if I'm free . . Will keep fingers and toes crossed that ME may decide to show Trauma there (oh please, oh please oh please! . .)

(Dorine)Maybe offhand chance a certain movie will be playing, though sounded like ME wasn't going this route. Uh, you mean the one with the problems in the narrative?;-)Count me in if that happens. as well as the opportunity to see some offbeat, hard-hitting movies that may not resurface for years Well????

Server went back up a little while ago. We had one of our second channel hard drives crash and now we need to replace it. But our main drive is intact and, contrary to an early diagnosis, our motherboard is intact. No data was lost. The second drive was mirrored and even it's data was preserved. Sorry for the 4 hours of downtime, it's a rare and unusually long outage for us. And a good wakeup call!

Is the stuff on the boards backed up or archived somehow anyway? I remember reading waaaaaay back in the old topics about stuff getting lost. I'm sure the technology is pretty different now, just curious. I'm still bummed there's some stuff that was referred to in the archives from the beginning that can't be retrieved anymore. :-(

AH! Sigh of relief-boards are back up so can take a long, slow calming breath!!!!

Oooh! I can't wait to see this one. Love Sayles' work: Newmarket stumping for Sayles' 'City' By Ian Mohr Just in time to capitalize on what promises to be a contentious run for the White House in the fall, Newmarket Films has sealed a deal to acquire North American distribution rights to indie auteur John Sayles' political satire "Silver City." "City" stars Maria Bello, Thora Birch, Chris Cooper, Richard Dreyfuss, Daryl Hannah, Danny Houston, Kris Kristofferson, Mary Kay Place and Tim Roth. Set in Colorado during a state gubernatorial race, the film follows a grammatically challenged, born-again candidate who is the scion of a formidable right-wing political dynasty. The candidate is in the midst of fumbling his way toward elected office when an unexplained corpse emerges to threaten his campaign, his family's empire and the special interest groups that pull his strings. " 'Silver City' is John Sayles' best film yet and will really shake up this political season with its spirited sense of mischief-making," Newmarket Films president and partner Bob Berney said. "I loved every character in the film, and John has put together a truly amazing cast, all delivering inspired performances." Sayles also wrote and edited "City." Maggie Renzi produced the film through the Anarchists' Convention banner. "John Sayles and I are thrilled to join the Newmarket juggernaut straight through to the Nov. 2 election and beyond," Renzi said. Negotiations on the "City" deal were led for Newmarket by company principal William Tyrer. Attorney Sue Bodine repped Anarchists' Convention. "On behalf of my partners and myself, I can honestly say that we could not be more proud to be in business with John Sayles," Tyrer said. "He has created some of the most memorable and important films of the last few decades, and we believe 'Silver City' will be the latest addition to this group."

The NY Times review of Dogville, by A.O. Scott: It Fakes a Village: Lars von Trier's America DOGVILLE, the setting for Lars von Trier's new film of the same name, is a tiny, obscure town in the Colorado Rockies. The adult population numbers about 15, and during the Great Depression, when the film takes place, these people's lives are busy, joyless and harsh. The hard-bitten folk who inhabited the Northwestern factory town in "Dancer in the Dark," Mr. von Trier's previous foray into Americana, at least had a community theater, but the most Dogville can offer is some meetings presided over by a self-styled intellectual named Tom Edison Jr. (the English actor Paul Bettany). Dogville is, in short, a place where life seems to have been reduced to its crude minimum. A modern American happening upon "Dogville," which opens in New York and Los Angeles on Friday, will quickly become aware of what has been omitted. "I deliberately took out religion," Mr. von Trier said in a recent telephone interview. Also, he might have added, such quintessential American passions as sports, popular culture and politics: one of the citizens does own a radio, but he snaps it off as soon as one of President Roosevelt's fireside chats comes over the airwaves. In "Dancer in the Dark" you could glimpse a framed photograph of President Eisenhower hanging on the wall, a curious touch in a movie supposedly set in 1964, but nonetheless a scrambled signal of some connection between the fictitious characters and the actual political entity they are supposed to inhabit. In the 1930's in Dogville, where the brief appearance of a constable is the only sign of the existence of the state, there are no pictures of F D. R. hanging on the wall. Then again, there aren't any walls. Nor are there any trees or houses or enclosed physical structures of any kind. There is nothing, in short, to mark Dogville as a place, American or otherwise: aside from one or two skeletal structures, an outcropping or two of painted styrofoam and a few pieces of furniture, Dogville is conjured out of chalk outlines and stark stage effects. The floor plans of the tiny houses are stenciled on the ground, as are invisible streets and phantom landmarks like the prized gooseberry bushes and the nonexistent dog whose nonetheless audible bark signals the arrival of a stranger. What happens to that stranger � a woman named Grace, played with a flawless combination of vulnerability and cunning by Nicole Kidman � constitutes Mr. Von Trier's latest American tragedy. Young Tom Edison, worried without any obvious reason that the town is in need of "moral rearmament," wishes for a test of its virtues, a real-life "illustration" (one of his favorite words) of his vague notions of community and responsibility. Grace, who is fleeing from big-city gangsters, seems to offer a perfect opportunity. She is reluctant to impose on the town's kindness but also utterly helpless. Dogville rises to the challenge of her presence by opening its arms in generosity, and then enclosing her in a pious, self-justifying embrace of indentured servitude, humiliation and, eventually, sexual slavery. It has been frequently noted that Mr. von Trier, a Dane, has never been to the United States. It was so frequently noted in discussions of "Dancer" that he was provoked to conceive an entire American trilogy, and to pre-empt objections by noting, in press materials, that the makers of "Casablanca" had never been to Morocco. Nor had Kafka been to the United States while writing "Amerika." "I must say I'm very fond of this idea that Kafka didn't go to America," Mr. von Trier said. "For me it's about America, even though it's about what he had seen in Europe. Somehow America is a canvas that you can use. Of course the film is, like Kafka's book, inspired by my own meeting with not Americans but mostly Danish people. It could be a place anywhere." Tom Edison, who is at once Mr. von Trier's alter ego and, ultimately, his villain, might endorse this interpretation. Toward the end of the movie, after the true, ugly nature of the town and its people has been revealed, he conceives a novel � maybe even a trilogy � about the experiences of a town just like it. "Why not just call it Dogville?" Grace asks. "No, no," he says, "it has to be universal. A lot of writers make that mistake." It is a mistake Mr. von Trier is far too clever to avoid. What makes "Dogville" so fascinating, and so troubling, is the tension between the universal and the specific. "You mean, why not just call it Denmark?" Mr. von Trier responded, mockingly, when asked about his choice. Because, of course, it couldn't possibly be Denmark. It's America. The script may have been written in Danish and then translated into the strange, mock-literary English the characters speak. The characters themselves may be played by a motley, international collection of actors ranging from Lauren Bacall to Chlo� Sevigny to Stellan Skarsgard. (You can hardly expect a man who once cast Catherine Deneuve as a factory worker named Kathy to care much about authenticity.) But the clothes and folkways of Dogville harken unmistakably back to the land of John Steinbeck, Mark Twain and Sherwood Anderson, whose observations have been filtered through Mr. von Trier's equally unmistakable European sensibility. The movie presents a curious blend of the alien and the familiar: it is a fantasy of America, b t not an American fantasy. The sight of actors all occupying the same barren stage, and the knowledge that the camera will never leave this spot, induce a squirming, suffocating sense of claustrophobia, which may be part of Mr. von Trier's point. In his pitiless view, everyone lives in a fundamental state of isolation, but no one is ever alone. The illusion of intimacy is sustained by the shaky close-ups that have become hallmarks of his intrusive, unnerving camera style, but even the most secret moments seem at the same time to occur in full public view. One of the film's grimmest scenes, the first of several rapes, takes place in one of the houses, and the camera pulls back through the invisible walls to the streets of the town, where the other Dogvilleans are going about their desultory business. Their obliviousness to what is taking place in the children's bedroom over at Vera and Chuck's house seems like a malign and active refusal to acknowledge it, a symbol of the repressive, willed innocence that is among the town's many sins The people of Dogville are proud, hypocritical and never more dangerous than when they are convinced of the righteousness of their actions. Grace, as it happens, may not be much better. Who are these people? What is this place? The formal audacity of "Dogville" is hard to separate from the provocations of its story and setting. Mr. von Trier, who has never seen the United States, nonetheless seems to suggest that he can see through it � through us. It is hardly surprising that some Americans have taken this personally, and responded to this brutal allegory in a defensive tone. Last spring in Cannes, where geopolitical tensions between Europe and the United States hung in the air like a bad smell, Mr. von Trier courted accusations of anti-Americanism � which, unlike awards, were numerous. Todd McCarthy, the chief film critic for Variety, wrote that "the identification with Dogville and the United States is total and unambiguous." He concluded that "through his contrived tale of one mistreated woman, who is devious herself, von Trier indicts as being unfit to inhabit the earth a country that has surely attracted, and given opportunity to, more people onto its shores than any other in the his ory of the world." Mr. von Trier does his part to further this reading. The film's violent denouement is followed by a sudden, gear-grinding shift from allegory to documentary, as the screen fills with photographs of destitute and miserable Americans, starting with Dorothea Lange's dust bowl families and running through the present. The pictures, accompanied by David Bowie's jaunty "Young Americans," seem to taunt us with a reality we would prefer to ignore, and to scold us for believing, like those benighted Dogvilleans, in our own unshakable goodness. Or something like that. The coda is so heavy-handed it's hard to take it seriously at all. "Of course, it's cheating a bit to put these pictures up, you might say," Mr. von Trier conceded. "But I can't deny that I am by heart a socialist, and therefore the American system as I see it would make a situation like this more probable, maybe push people more quickly to the wrong side. My primitive view is that if a system is partly built on the idea that you are the maker of your own happiness, then of course poor people are miserable in the sense that they failed completely. Whereas in other countries, you might look at that more as a failure of the society." To take "Dogville" primarily as the vehicle for this view, however, is to make it a much less interesting movie than it is. You might as well say that "Dancer in the Dark," which has a bizarre plot involving blindness � and which ends very badly, indeed � is a treatise against privatized health care and capital punishment, aspects of modern American society most likely to appall the citizens of Western European social democracies. Expanding the possible interpretation of "Dogville" (if not his view of human nature), Mr. Von Trier offered, "I think the point to the film is that evil can arise anywhere, as long as the situation is right." It is the pervasiveness of that evil � the thoroughness of the film's pessimism � that may seem most alien of all to doggedly optimistic American sensibilities. "Dogville" belongs in the company of other European dreams about America � Kafka's "Amerika," of course, but also Bertolt Brecht's plays set among the gangsters of Chicago and films like Wim Wenders's "Paris, Texas" and Michelangelo Antonioni's "Zabriskie Point." To call these various works dreams is to caution against taking them too literally, and also to suggest that they may be most interesting for what they reveal about the dreamers. In spite of being led by James Caan, who once played Sonny Corleone, the black-hatted thugs who roll into Dogville have more in common with Brecht's gangsters, who were Nazis in disguise, than with our own tradition of sentimental, mama's-boy mobsters from "The Public Enemy" to "The Sopranos." And the citizens of Dogville, for all their exaggerated frontier folksiness, seem to have been projected from the anxious unconscious of Europe. They are rooted to the spot, immobilized by habit and prejudice, incapable of flight or self-invention, and the social pathology to which t ey � and Grace � fall prey looks more like fascism than like our homegrown forms of viciousness and intolerance. "Manderlay," the middle film in Mr. von Trier's American trilogy, will tackle a more identifiably American problem � racism and the legacy of slavery � and it will be interesting to see what European demons haunt its spartan stage. It is also interesting to note that, now that Ms. Kidman has moved on, the part of Grace will be played by Bryce Howard, a young actress who, as Mr. von Trier perhaps coyly put it, "turned out to be the daughter of an American director, Ron Howard." And while it may be going too far to suggest a link between Dogville and Mayberry � or, for that matter, between Dogville and Whoville � Mr. von Trier's austere art film may be closer to the mess and ruckus of American popular culture than he knows, and not only because of his fondness for populating his allegorical landscapes with movie stars. Part of being American is participating in an endless argument about what America means, an argument to which "Dogville" adds an unignorable, if curiously accented, voice. And Dogville may be closer than we think. Shortly after a recent screening of the film, I turned on the television and stumbled on another small town in Colorado, rendered in a self-consciously minimalist style, where American piety is subjected to systematic and brutal deconstruction. Sometimes travel to a strange place gives you a new perspective on home, and a new appreciation for it. After Dogville, South Park will never look quite the same.

"the nonexistent dog whose nonetheless audible bark signals the arrival of a stranger" "Moses". LOL. I didn't know he was non-existent. " The coda is so heavy-handed it's hard to take it seriously at all" I'm telling ya' the audience laughed. A museum audience....not the cineplex crowd. [LvT]"But I can't deny that I am by heart a socialist" Now...how could anybody guess that... "And the citizens of Dogville, for all their exaggerated frontier folksiness, seem to have been projected from the anxious unconscious of Europe. They are rooted to the spot,immobilized by habit and prejudice, incapable of flight or self-invention,..." *snort* (I didn't say that , boss...AO Scott did.) Oh , but that we could all be as flawless as Danes;-)

LOL! Knew you'd get a kick out of it. I liked the title of the piece and his justification for setting the trilogy here, without ever having been here. VT sets his Americana movies in places that aren't as accessible to foreigners. One can easily portray a NY or an LA, but a small town in the NW (Dancer in the Dark) or wherever Dogville is supposed to be. No, ain't going to happen. But let's not forget not to lump all Danes in the same boat, eh, Annette? ;-)

(karen) But let's not forget not to lump all Danes in the same boat, eh, Annette? ;-) Of course. Present company is always excluded. I mean't to put ;-/ ..meaning LvT. If #2 is on Racism and Slavery, wanna bet # 3 is on Capital Punishment? #1 put us all in the "Sopranos" category...with uzuzzi's(?) in every home. BTW the last episode of The Sopranos had some magnificent accent . The final scene between Tony and Uncle Junior was stunning. So how come no one has commented on "The Last King" Loooong...esp the first half. Second half moved along.

I thank you, Karen :-) Lars Von Trier is not what some of us would call a typical Dane. I for one, am not a big fan of most of his movies.

(Annette)I for one, am not a big fan of most of his I liked Dancer in the Dark (bleak) and Breaking the Waves (painful to watch). Hmmmm, maybe liked isn't the right word. Admired ? He seems to portray his women characters as victims of humanity.

You're welcome, Annette. Am very sensitive, sympathetic and nice person. ;-))))) (Evelyn) So how come no one has commented on "The Last King" I thought it was great, especially if you took it in two sittings. Rufus was excellent, though nobody aged at all. Quite a different portrayal of Charles from the movie Restoration and others. Other than his desire to be an absolute monarch (a natural inclination, of course), he came off extremely well: very wise and astute and a responsible king. Is this revisionism at its best?

Saw the new Coen Bros. movie The Ladykillers last night. I liked it for the most part with some reservations. *Loved* the woman in it, Irma P. Hall. I liked it a heck of a lot better than Intolerable Cruelty. I had such high expectations for that one and it fell flat for me. One of the big things that really bothered me in this is the overuse, really, of cursing by Marlon Wayans character. An occasional, f-word or m-f or bitch is ok, but when it's used very frequently, it's a bit ridiculous. He was supposed to be a lower class and of the street, but still.... I just now noticed this is R, which is really unnecessary if they didn't have all the cursing. Also, the designated stupid, dunce-like guy was a bit too so for me. I wondered how he could get dressed in the morning. Now the music!....Loved the gospel music. That T. Bone Burnett is sharp in picking out the soundtrack and score. Love his wife's (Sam Philips) music, too, though it's not in this movie. I've read the opinions that the original of this movie is excellent. I'll have to check it out sometime.

Boy, talk about counterprogramming.... Monty Python's 'Life of Brian' Set for Re-Release Tue Mar 23, 9:03 PM ET By Steve Gorman LOS ANGELES (Reuters) - Coming back soon to a theater near you -- a controversial film about a Jewish guy from Nazareth who is worshiped as the Messiah and crucified by the Romans. No, it's not Mel Gibson (news)'s "The Passion of the Christ." It's Monty Python's "Life of Brian." Inspired by the runaway success -- and public furor -- over Gibson's portrayal of the last 12 hours in the life of Jesus, the creators behind the 1979 biblical satire about an anti-Roman activist who spends his life being mistaken for a prophet are planning a 25th anniversary re-release next month. "Life of Brian" will open at the end of April in Los Angeles and New York before expanding to other cities across the country, Rainbow Film Company president Henry Jaglom (news), whose distribution arm is reissuing the film, said on Tuesday. Jaglom, a writer-director whose partner, John Goldstone, produced the original film, said trailers for the comedy would appear in theaters starting on Good Friday. "We decided this is an important time to re-release this film, to provide some counter-programing to 'The Passion,"' Jaglom told Reuters. "I intend it, hopefully, to serve as an antidote to all the hysteria about Mel's movie." He said marketing for the re-release would play off Gibson's film by adapting such taglines as "Mel or Monty" and "The Passion or the Python" -- "we want to give people a choice." The members of the Monty Python comedy troupe -- John Cleese (news), Terry Gilliam (news), Michael Palin (news), Terry Jones (news) and the late Graham Chapman (news) (who played Brian) -- all shared writing credits on the film and won back theatrical rights to it several years ago. Jaglom said the surviving members "all agreed this was a good time" to re-release the film and would help promote it. Owing to a heavy turnout by Christian moviegoers and weeks of intense media attention, Gibson's film opened to blockbuster success on Feb. 25 -- Ash Wednesday. "The Passion" has gone on to generate nearly $300 million in North American ticket sales alone, becoming the highest-grossing R-rated film of all time. "Life of Brian," stirred an uproar all its own 25 years ago, with some Christians condemning the film as blasphemous. The film only got made when former Beatle George Harrison (news) stepped in to finance the picture after EMI Films withdrew from the project, fearing that it was too controversial. The movie focused on the fictional Brian of Nazareth, a Jew who is born in the manger next-door to Jesus and grows up to join an anti-Roman separatist group called the Judean People's Front but ends up being mistaken for the Messiah. The film's creators have said it was meant as a spoof on Bible films and intolerance rather than Christianity. But that distinction was lost on some who were offended by the irreverent flavor of the film, including a scene in which several crucifixion victims sing and whistle the tune "Look On the Bright Side of Life" while hanging on crosses.

(Dorine) One of the big things that really bothered me in this is the overuse, really, of cursing by Marlon Wayans character. An occasional, f-word or m-f or bitch is ok, but when it's used very frequently, it's a bit ridiculous. So, you must not like Kevin Smith's films, right? Speaking of language, anybody watch Deadwood on HBO? The language floored me too. Not only the frequency, but the anachronistic nature of it and other details. It was like the Sopranos in the wild wild west. I'm sure the language used was coarse, but it just seemed like the wrong words for that place and time. Every other word was the F word or the compound C-S word. Maybe it's my formative years, growing up watching sanitized westerns on TV. Who knows, but I don't recall any of the other dark and more realistic filmed westerns bothering me this way. More anachronisms! I started writing them down, as I watched. Besides, the curse words, one guy talked about someone being a "motivated seller." I guess he must've worked for Century 21 or ReMax back in the big city. ;-) Another said he had performed his "due diligence." Then the cost of items was so out of whack for that time period. Someone was selling prospector's equipment off the back of his wagon and shovels were like $8. Two guys were bidding for another's claim and it went to like $20,000. Are they kidding? This is the time when a guy paid $1 for night's room and board and two bits for a poke. ;-) Someone did not do their homework.

(Karen)Am very sensitive, sympathetic and nice person. ;-))))) Pssst...you forgot "humble":-/ BTW boss, Big Group Hug for alerting DD's to Drool outage. *kiss* *kiss*

Marlon Wayans was on the Today Show this morning. Katie said she was going to wash his mouth out with soap and told him it's your fault I couldn't bring my daughters to this one.:-) Dorine, you didn't mention Tom Hanks. He seems really funny in the commercials; that accent and those teeth crack me up. He was on the Daily Show yesterday promoting this; Jon Stewart is really getting the big names. I plan to see it; the Coens and Tom Hanks--I'm there. Re: The Last King. I did it all in one sitting, though fell asleep on the last half hour; will have to catch up on the re-run. I liked it well enough; it held my attention for 4 hours, so that's saying a lot. Rufus Sewell did a good job, I thought. One thing that struck me was his visits among the common folk during the Plague and then the great fire. I'm not saying that a king wouldn't do this--but royalty of that time has never been portrayed on film as being overly compassionate, that I can recall. The outside sets were very cheesy.

From THR, now, this is a creative solution: ShoWest: Fithian presses tolerance of NC-17 By Gail Schiller LAS VEGAS -- Arguing that theater owners can show NC-17 films and that studios can successfully advertise them, National Association of Theatre Owners president John Fithian on Tuesday urged Hollywood to release more NC-17 fare in an effort to make the controversial rating more viable. Speaking at the opening ceremony of ShoWest, Fithian also said that Mel Gibson's "The Passion of the Christ" and the controversy over the film that played out in movie theaters nationwide proved that when filmmakers have something to say, they still choose to do it first in theaters. Fithian said he was delighted to see at least three studios releasing NC-17 films this year: Fox Searchlight's "The Dreamers," Lions Gate's "High Tension" and Sony Pictures Classics' "Young Adam." "Every rating in the system has a function, and the viability of the whole system depends on the appropriate use of every single rating," said Fithian, who noted that Fox Searchlight discovered with its February release of Bernardo Bertolucci's "Dreamers" that "the myths about why the NC-17 (rating) won't work are simply that--myths." "First of all, theater owners will play NC-17s. On a case-by-case basis, (with) good pictures that fit the audience in their marketplaces, they will use that rating. Secondly, there's a myth you can't get NC-17s advertised," said Fithian, adding that Fox Searchlight debunked that notion by advertising the film in virtually all the markets it had targeted. An NC-17 rating--no one 17 or younger admitted--has long been considered a stigma on theatrical releases that damages boxoffice and video sales as well as advertising. "Dreamers" was the first film released by an MPAA signatory company with an NC-17 rating in six years. Addressing an audience of theater owners, Fithian invoked the success of Gibson's "Passion" as proof of the ongoing viability on their business despite the onslaught of new home theater technologies. [yadda yadda, other comments about the changes, trends, and challenges affecting theater owners.]

(Dorine) One of the big things that really bothered me in this is the overuse, really, of cursing by Marlon Wayans character. An occasional, f-word or m-f or bitch is ok, but when it's used very frequently, it's a bit ridiculous. (Karen) So, you must not like Kevin Smith's films, right? Not sure if there was supposed to be a winkie there or not ;-).... Irregardless, I'm a huge fan of KS. Dogma one of my all time favorites. Saw him at a Q&A last year and literally every sentence he said had the f-word at least once. But I will say, despite that, he was *very* f-ng funny. ;-) In the context of his movies, I expect that language. In the Ladykillers, it seemed so out of place because, except for when he taunted one of the other guys into cursing a bit, too, Gawain (Marlon Wayans) was over the top compared to the rest. It was just too big a counterpoint to the Prof (Tom Hanks), who was the genteel Southern gentleman. I liked Tom Hanks for the most part, but at times it seemed he was trying too hard to me. He was a great with the old woman though. And that laugh of his was pretty amusing, too. Because of the Deep South characterization aspect, my mind kept coming back to George Clooney in O'Brother Where Art Thou...thinking how incredible I thought his performance was and I didn't think it was quite as good. Nor did I think it was close to Forrest Gump as the ads keep touting. And a movie in my top 10, probably Top 5, with over the top violence and language....Pulp Fiction. Brilliant film.

(Dorine) And a movie in my top 10, probably Top 5, with over the top violence and language....Pulp Fiction. Brilliant film. My Top 5 too... Also like Reservior Dogs and Trainspotting (load me up with bad language and/or violence). Clerks (badly acted, but the dialogue is hilarious) and Dogma are favorites as well. Really like Kevin Smith a lot (for a good laugh, I recommend his website. Click on the cartoon and take the Office Tour, otherwise you get stuck looking at the merchandise...but if you want a Buddy Jesus, this is the place to go) http://www.viewaskew.com/

Kevin Smith should write and not direct, but have always liked his movies from Clerks through Mallrats through Chasing Amy and Dogma. Never saw Jay & Silent Bob and doubt will see Jersey Girl. Love his Roadside Atrractions shorts on Leno's show. However, I am having a change of heart about him, as a result of reading Biskind's book. As for Tarantino, not a real fan. Pulp Fiction was fine, but his schtick is not my schtick. All style (does it look cool?) and no substance.

(Mari)I liked it well enough; it held my attention for 4 hours, so that's saying a lot Agreed. I was pleasantly surprised to see one of my favorites, Martin Freeman, from LA and The Office. I think, though, I'm more partial to him in comedy. Shirley Henderson's voice began to get on my nerves. I was expecting Harry Potter and gang to surface;-) Favorite line, from Charles when she arrives to marry him..."They've brought me a bat." The hair, Louisa;-) P&P moment-Charles watching Catherine from the upstairs window as she frolics with the dog. I know there was another one, but I can't remember at the moment-will have to catch it on my VHS.

(Annette), Lars Von Trier is not what some of us would call a typical Dane. That's not a bad thing, is it? ;-) I'm a fan of the DOGMA movement and consider "Dancer in the Dark" a masterpiece. (Karen), As for Tarantino, not a real fan. but his schtick is not my schtick. All style (does it look cool?) and no substance. I agree! I think Pulp Fiction is overrated, much preferred Resevoir Dogs, although, it is not my schtick. (Mari)I liked it well enough; it held my attention for 4 hours, so that's saying a lot I agree! Was surprised he did not annul his marriage and was very surprised that he converted to Catholism on his death bed. It must be said that he tried to work with Parliament before they began to blackmail him for his power. He did the right thing to claim absolute power, but following tradition and standing by the Duke of York as his succesor did him in. Just think, even back then the mob was calling to an end of tradition. :-(

I thought the first half of The Last King dragged for me, but picked up once the story left the bedroom;-) Thought Rupert Graves was terrific....'cept for the blond wig. Didn't you like 'em both with heads shaved:-))) I hope Diana Rigg takes over from Judi Dench roles. Poor Charles, had a barren wife who didn't speak English, the London fire and the plague... Got awfully tired of the religion stuff, but I guess it was important in those days LOL. I guess here too til JFK. (Tress)Also like Reservior Dogs and Trainspotting (load me up with bad language and/or violence). Lars VT would love you;-) I don't like anything about or by Tarantino.

(Moon) Was surprised he did not annul his marriage and was very surprised that he converted to Catholism on his death bed. Ya gotta wonder what went on in those days for a mere fever to result in women never being able to conceive again. Seems like it always happens in the movies. ;-) Not annuling the marriage and finding some nice Protestant lady was probably his worst judgmental error. He knew what having his openly Catholic brother as his successor meant and it flies at odds with everything else he did to heal a nation that had experienced such upheaval. That he converted on his deathbed didn't surprise me. Loved the scene at the end when he got all regally dolled up in order to dissolve Parliament. Strangely enough, I found I knew the words. ("Gentlemen, you may go home.") Must have read them somewhere some time ago. ;-) (Linda) Favorite line, from Charles when she arrives to marry him..."They've brought me a bat." The hair, Louisa;-) That was precious! (Evelyn) Got awfully tired of the religion stuff, but I guess it was important in those days Can you say understatement? ;-) But it was far more than Kennedy-era fears of Papal influence. The history of Europe was the history of the Catholic Church. Until the rise of the modern nation state, religion was key to understanding the geopolitics of Europe.

I had noticed after checking this on the TEOR topic . . A contest from Working Title -win a free Love Actually DVD (I'm assuming the contest is still on since it's still on the site:) http://www.workingtitlefilms.com/nusite.php

Last night I did a complete, full backup of all the websites, including firth, spring and austen, and am currently in the midst of backing up the bbs. I will be testing and doing backups all day today. I am also researching the need to "spare" parts in the event of a motherboard failure on our server. Recent experience has shown us that it would take 3-4 days to order and get a spare motherboard shipped to our colocation facility. I'd like to raise the funds to get a spare motherboard on hand and replace the crashed hard drive that is continuing to cause problems on our system.

Last night's Keen Eddie featured the same kid in "About a Boy" who hooked up with HG. Same role too. Cute show. I like the fact that they don't take themselves seriously. Some of these shows think they are larger than life. (Terry)Recent experience has shown us that it would take 3-4 days to order and get a spare motherboard shipped to our colocation facility. *Overnight* Express ?

Please post your messages elsewhere on Spring for the other conferences. Drool has done its thing. Also, this isn't the place anyway. (Evelyn) Last night's Keen Eddie featured the same kid in "About a Boy" who hooked up with HG. When I was flipping channels, I noticed he looked familiar then placed him. Gotten v. tall, hasn't he? Will watch the taped KE today. ;-)

(Mark) I agree there's no UK comparison to SNL, certainly not in terms of longevity. Our sketch shows tend to go for a maximum of about 4 years That is always been the crux of the issue: longevity. In the US, if a program is successful, it goes on as long as possible, plus a full TV season requires 26 episodes. In the UK, only half that amount are made, which accounts for why the programs are not picked up by US networks. Also, the longevity of our programs makes them iconic. Programs that have been on for 10 years or longer tend to be like that. ;-) But so many successful UK programs only do a few years. Last night, Ricky Gervais was on Letterman and talked about how they've stopped doing The Office. It's only had three seasons. That wouldn't happen here to a popular, award-winning program. That Was The Week That Was (known by devotees as TW3), Monty Python, The Two Ronnies, Three of a Kind, Not The Nine O'Clock News, A Kick up the Eighties, Smack The Pony, The Fast Show. Many of these have shown here (pre-BBC America) on PBS or Bravo. Ernie Kovacs: name rings a vague bell, but I couldn't identify him. Before you were born, I'm sure. My dad's fave....the Nairobi Trio. "da da da, da da da da, da da da da, da da da da. boom."

She's going to be everywhere it seems... Suvari Takes Own Chair in 'Beauty Shop' Thu Mar 25, 1:20 AM ET By Liza Foreman LOS ANGELES (Hollywood Reporter) - From "American Beauty" to "Beauty Shop" ... Mena Suvari (news) is joining the cast of Queen Latifah's "Barbershop" spinoff, which is set to begin shooting next month. The MGM project revolves around a beauty shop run by Gina (Queen Latifah) where there's more interest in the talk than the haircuts. Alicia Silverstone (news) plays the sole white staffer, while Djimon Hounsou (news) plays the leading man. Suvari will play Joanne, an upper-crust opinionated socialite. Bille Woodruff ("Honey") will direct. Suvari was most recently in theaters with the 2002 movie "Spun." Upcoming releases include "Trauma," "Closing the Ring," "Living and Breathing" and "Standing Still." Reuters/Hollywood Reporter

I think I've developed a "heterosexual woman crush" on Kate Winslet after last night. Allow me to explain.... At film class last night and was looking around the theater for the Professor, just as it was supposed to start, to see if he was around and getting ready to start. I look up to the diagonal, top corner from me and see who I thought was Sam Mendes standing there. It was a bit away, so it was hard for me to tell for absolute certain. I was trying to rack my brain to figure out if he had a movie coming out that I'd forgotten about and maybe missed him talking about on Charlie Rose a couple of weeks ago. Couldn't think of anything, but became more certain as I looked at him and was excited as I figured he was the guest. So the Prof gets up to do his usual spiel about whatever subject would relate to the movie we would see (he never tells us what the movie is until after his spiel). 45 mins later, he mentions Eternal Sunshine...and that he had said that night we saw it, he planned to have a star from it at a later date. That's when I realized it was Kate Winslet! I had seen him come in with 2 women, but couldn't make out either one as they were starting to bring the house lights down. She is probably one of the *least* affected and most charming and endearing A-listers I've ever seen (George Clooney is another off the top of my head....and do we count ODB as A-list now that he's done SNL? *note no winkie*). She's a gabber, too! I saw her on Actor's Studio a couple of weeks ago and remember finding her very charming then too, but can't remember how she was overall, though the part about Harvey Keitel's death scene was a riot. There's quite a bit I can't really mention on a public board as it was some more personal stuff for her...about her family in England, herself and family with SM, and other rather personal stuff I was surprised he got into. Seems the director on Eternal Sunshine was very open to having them collaborate on setting up and running scenes, very improvisational at times. Says she takes tons of notes on scripts and has little post-it notes all over her scripts. Gets worried when she doesn't see it in others, but was relieved when Jim Carrey had *tons*. To help her get her back to or just to the proper emotional plane of a particular scene, she'll write on the blank side of the page opposite the scene she's shooting that day what was the last thing that was happening so she can match it and not have to flip back and forth in the script. With this script, since the scenes were so jumbled around and flicking back and forth, she needed it especially with this film to keep her own continuity. Said if she looks stiff or scared in the scene that they took the ad picture for, it's because they were on a frozen lake at 3am shooting and because of the heaters and weight of all the equipment, a big crack occurred under her and went right by her head. They all laughed at her, because they knew it wouldn't be a big deal since the ice was so thick, but she was just trying to get through it quickly. I could tell the teacher was so enamored of her too, because the interview ran for over an hour and a half when they are usually only 45 mins, occasionally an hour. It ran *so* long, we didn't have time for a film! He wouldn't even tell us what it was supposed to be, but said it was kinda long. :-( I was exhausted so I was glad he didn't show one. It would have to have been one special movie for me to stay the whole time. They also talked about the Oscars, the red carpet (the local lane for somebodies, and express lane for nobodies, LOL!). She mentioned how annoyed she was at Billy Bush this year inside the theater...said she was mortified for poor Johnny Depp and Keisha Castle-Hughes for being put on the spot like that, as usually it's a relief for all of them to get into the theater as it's been generally off limits to press like that. Gives them time to relax, such as it were, and compose themselves before it starts. The teacher told a v. funny story about when he went to the Oscars one year as guests of someone there....he was walking up the red carpet and Joan Rivers spotted him and wanted him to come over. They had met at a dinner party sometime prior to that, sat next to each other and spoken briefly. Unfortunately, Joan realized too late that even though she knew him, he was a "nobody". At that point she had to run with it and asked him who he was wearing. He pointed to his jacket and said "Today's Man," and to his pants and said "Loehmann's" (a Brooklyn shopping institution of more downscale clothing). The whole room was ROTF! She talked about the post-Oscar parties as not really parties, but press manipulations for whoever is putting them on...Vanity Fair, In-Style, etc. At the end, she was given a plaque of appreciation, and while we're clapping, she was spoofing crying and thanking her family, dog, etc. Kind of a joke on what she'd been talking about earlier about getting 3 noms and no wins. She also said playing Clementine affected her quite a bit. Also, said she loved her clothes, she was just rummaging throught the storage bins where the costumes are kept to get Clementine's wardrobe. She thought she should start dressing more fun like her, rather than for function as she's used to doing (pointing out the coat she had on as an example of trying to be more fun. Just a long cream colored coat with thin strands of mutlicolored stitching.Like a very large, loose plaid maybe. Hard to describe. It was a nice coat.) She said discovered it's fun to dress for fun. She also talked about having to get used to paparazzi, though it's not so bad now, as they must think she's just a boring mom and family person. That's about it, at least for now.

Thanks, Dorine! Have alwsys liked her too. I've always felt she should have been Bridget Jones, and I still do! She said discovered it's fun to dress for fun. I always thought that to be "The" British way for fashion. What a great class! So what film was to be shown? (Karen), Last night, Ricky Gervais was on Letterman and talked about how they've stopped doing The Office. It's only had three seasons. Never got into that show. I can not understand why it's so successul.

(Moon) So what film was to be shown? (Me) He wouldn't even tell us what it was supposed to be, but said it was kinda long. :-( I was exhausted so I was glad he didn't show one. It would have to have been one special movie for me to stay the whole time.

(Dorine)I think I've developed a "heterosexual woman crush" on Kate Winslet I can see why, have you told her yet? She sounds like a charming, very down to earth person. (Evelyn) Last night's Keen Eddie featured the same kid in "About a Boy" Saw that, too. I thought the other kid was cute, too--Fiona's co-worker's brother. Another new episode next week. I wonder if they'll do anymore?

Dorine, thanks for the Kate news! Since I can't be a Metro Gal I have to live vicariously through your posts. Sounds like a great evening and that she was very 'up front' in her answers. Always great to hear stories like that about celebs. (Evelyn) Cute show. I like the fact that they don't take themselves seriously. Last Saturday, a cable guy came to my door and I have not been the same since. I now have digitial and have more channels than I know what to do with....but I saw my first episode of Keen Eddie last night (missing Nip/Tuck as I totally spaced it, so now must consider TiVo to catch both). Anyway, loved it. Loved the AAB boy (who is growing! His voice is deeper and he's tall and his face is thinning out!) and the dog that likes crisps and Eddie. What a riot. Great show and I'm looking forward to next week, a 'fight club' episode.

(Tress) missing Nip/Tuck as I totally spaced it Oh, crap!! Are they rerunning those and I'm missing them? Needed to tape them for someone. Can't wait til June for the new ones.

(Dorine) Oh, crap!! Are they rerunning those and I'm missing them? Yup! And I missed a few episodes and dont' know which one they showed last night. But.....they are showing the pilot on Sunday (28th) at 11:00 p.m. my time (Pacific). I'd check you listings, you should be okay with taping. Looks like Sundays and Wednesday nights (so I'm assuming I missed the pilot last night and they rebroadcast on Sundays).

Thanks, Dorine. Charming account of KW at your class. So what was Sam doing while his wife was in the spotlight? Did he hang around at the back of the room? She mentioned how annoyed she was at Billy Bush this year inside the theater...said she was mortified for poor Johnny Depp and Keisha Castle-Hughes for being put on the spot like that I've read other criticisms of that as well as when he sat down between Nicole and RZ. "Loehmann's" (a Brooklyn shopping institution of more downscale clothing). Downscale? How about last season's designerwear? Re: Nip/Tuck I wanted to watch the rebroadcast of the pilot (or at least tape it), but there were too many conflicts. Sunday, you say? Maybe, I'll catch it then. I once watched part of an episode and wasn't enthralled. Will give it another go.

From Variety: Focus widens lens with Rogue David Rooney, STAFF Focus Features, looking to expand into mainstream commercial territory, has created Rogue Pictures, a label devoted to upscale action, thriller and urban fare with franchise potential. [Ed note: isn't this what parent company--Universal--does?] Focus co-presidents David Linde and James Schamus announced Rogue at ShoWest on Wednesday, giving the 2-year-old Universal specialty unit additional muscle to compete with more established players like Miramax and New Line. Unlike Miramax sister unit Dimension Films, however, Rogue will be run by the same executive team as Focus, rather than by a dedicated staff. Rogue releases will be overseen by Focus distribution prexy Jack Foley, who honed his genre skills on the "Scream" series while at Miramax. While the first-year lineup includes three or four pics, Focus has not set an annual quota of titles for the division. Like the Focus slate, Rogue's output will tilt more heavily toward features developed inhouse than acquisitions. The genre arm will debut with the wide Halloween-weekend release of horror sequel "Seed of Chucky," now in production with series creator Don Mancini writing and directing. The fifth deadly doll installment stars Jennifer Tilly, Redman, Hannah Spearritt, John Waters and the voices of Billy Boyd and Brad Dourif. The first domestic acquisition for Rogue is an untitled Jet Li starrer produced by Luc Besson's Europa Corp., currently in post. Directed by Louis Leterrier, the action drama about a violent killing machine who attempts to break from the mob also stars Morgan Freeman and Bob Hoskins. Focus parent Universal will release the pic in the U.K., Germany, Australia, New Zealand and South Africa through UIP. Also on the inaugural Rogue slate is director Jean-Francois Richet's remake of John Carpenter's 1976 "Assault on Precinct 13," which starts shooting April 5. Rapper Busta Rhymes has joined the cast, which includes Ethan Hawke, Laurence Fishburne, Maria Bello, John Leguizamo, Drea de Matteo, Gabriel Byrne and Brian Dennehy. "In the same way we've carved out our niche as Focus in the last two years, Rogue will stick very much to our basic model," Schamus told Daily Variety. "On the same day we hear that the average MPAA studio release costs over $100 million, we realize there is a real place in the market right now for sanely budgeted and marketed, audience-specific movies that aren't necessarily arthouse. We've given it long, hard thought." "We still perceive it as a specialized business, but what Rogue represents is an organic growth of that kind of business," he continued. "We don't have to assume in our plans that any of these films will be wild successes, but what we can assume is that every release will get the chance to be so." Talent focus Despite the emphasis on more commercial genre fare and far wider, more aggressively upfront releases than the distrib's standard platform approach, Rogue will retain the key Focus mandate of seeking material- and filmmaker-driven projects that utilize established and breakout talent. "The same rules still apply, which is that the one kind of movie we'll never make is the movie for everybody," Schamus explained. "We realize that there is added value to building a brand and in not confusing what people have come to associate with the Focus name to date, but instead trying to re-create the same kind of pedigree with this other part of the movie landscape." As part of the branding of the nascent division, Focus will set up strategic corporate alliances, Internet marketing and outreach to genre and niche media. Worldwide rights to the majority of Rogue titles will be held by Focus Intl. Focus, in addition to spawning a string of specialty hits and awards honorees--including "The Pianist," "Far From Heaven," "Lost in Translation," "21 Grams" and the current "Eternal Sunshine of the Spotless Mind"--has developed a thriving international business that lends stability to the domestic operation. Hatched out of Good Machine Intl., Focus Intl. has shepherded $100 million-grossing hits from titles like "Lost in Translation" and Zhang Yimou's "Hero." This year, the division has international rights to Pedro Almodovar's Cannes opener "Bad Education" and Zhang's "House of Flying Daggers," which also is among titles under discussion for the French fest. Balance sought "Domestic and international both function as anchors for each other," Schamus said. "When you make the kind of movies we make, they have to work internationally--look at '21 Grams.' When you take the kind of aesthetic risks we take in the normal course of business, you must be able to leverage those against what you know is a more available international marketplace." The introduction of Rogue means that titles previously sold off, like last year's "The Texas Chainsaw Massacre" remake--which went to New Line during the transition from Good Machine to Focus--now will remain inhouse earners. Focus' expanded configuration inevitably draws comparison with the Miramax of some years back, before it ventured more forcefully into studio-style fare. However, Focus now arguably has less overlap with its parent company in the style of films it is producing than Miramax has with Disney. Up to now, Focus has had less association with foreign-language pickups than some of its competitors. But the unit indicated a commitment to that area with its high-priced domestic acquisition at Sundance of Walter Salles' young-Che Guevara pic "The Motorcycle Diaries" (headed for a competition berth at Cannes), which could be one of the major foreign-language crossover titles of the year. Rogue projects in active development include "The Horsemen," a murder mystery written by David Callaham to be produced by Michael Bay's Platinum Dunes with Ted Field's Radar Pictures; an update of 1979 ghost tale "The Changeling," adapted by Dave Kajanuk, to be produced by Joel Michaels and exec produced by Amanda Klein and former Focus head of production Glenn Williamson; and "Revolver," a thriller penned by Adam Sussman to be produced by Ray Gun's Aaron Ryder. While no deals are in place with regular suppliers, Schamus points to projects in the pipeline with partners like Bay, Besson and "Chucky" producer David Kirschner as the kind of relationships Rogue will nurture.

Like the Focus slate, Rogue's output will tilt more heavily toward features developed inhouse than acquisitions. Up to that point, I was holding out hope for Trauma;-( Thanks, Karen

Except for the fact that everything shown on the slate were "acquisitions." Another irreconcilable bit to this article.

(Karen) So what was Sam doing while his wife was in the spotlight? Did he hang around at the back of the room? He was sitting in the seats where I saw him heading to initially. She would glance up that way periodically when mentioning him by name or allude to him. He was not pointed out though....her night. And judging by comments I heard around me, esp by the guy I mentioned my initial sighting to, people didn't know they were married, or together at all probably. Thanks for the Focus interview. (Me) She mentioned how annoyed she was at Billy Bush this year inside the theater...said she was mortified for poor Johnny Depp and Keisha Castle-Hughes for being put on the spot like that (Karen) I've read other criticisms of that as well as when he sat down between Nicole and RZ. The one that ticked me off is when he leaned his whole body over Alec Baldwin to get to Sandra Bullock, so that AB had to lean forward. I would've been livid if I were AB to have to lean over like that for so long. Too rude. Re: Nip/Tuck I wanted to watch the rebroadcast of the pilot (or at least tape it), but there were too many conflicts. Sunday, you say? Maybe, I'll catch it then. I once watched part of an episode and wasn't enthralled. Will give it another go. Oh, yes, stick with it! I saw maybe the second or third episode first and didn't catch up to the pilot til later. Am glad it worked out that way as I made a mental note in the middle of the pilot that I may not have stuck with it had I seen that one first. I thought it kept getting better, or at least increasingly compelling and fun as the season went on and you got to know them better.

(Linda)...Fiona's co-worker's brother. Oh the Bar Mitzvah kid...hilarious. So tongue in cheek..I loved it. And what about the look on the kid's face when he noticed the sparring between Fiona and Eddie...he's figured it out. (Dorine)Loehmann's" (a Brooklyn shopping institution of more downscale clothing). LOL. That hurt, Dorine;-( Once on Fifth, they are over on 17th &7th, I think. Got all my prom dresses there a million years ago. (Dorine)She would glance up that way periodically when mentioning him by name or allude to him. When James Lipton asked her "What turns you on". Kate W. said:"My Husband". She sounds like someone who would be fun to be around. Doesn't take herself seriously. Thanks for this, Dorine.

(Evelyn)And what about the look on the kid's face when he noticed the sparring between Fiona and Eddie...he's figured it out. I like how he tried to become Eddie-poor Fiona, she had two of them. I do love the sparring-they're both great at it.

(Linda) poor Fiona Okay, being new to KE, is she always painting her toes? Also love Dozer's (isn't that the dog's name?) affection for Fiona's fur coat. LOL! "I think they've been to third base!" And the Scotland Yard detective (Eddie's partner)...I've seen him in other things and it's been killin' me. I guess I should just "google" him. Might take the mystery out of it.

(Tress)And the Scotland Yard detective (Eddie's partner)...I've seen him in other things and it's been killin' me That's Julian Rhind Tutt. I recognized him from Laura Croft and MT's Reckless, and Tomorrow Never Dies. http://www.tvtome.com/tvtome/servlet/PersonDetail/personid-95650 (Tress)Okay, being new to KE, is she always painting her toes? LOL, yes, but she's good at other things, too.

(Tress)Okay, being new to KE, is she always painting her toes? (Linda)LOL, yes, but she's good at other things, too. IRL, she's Jude Law's squeeze; cute.

(Tress) I've seen him in other things Think Horse & Hound

FYI, the rabbi was Henry Goodman, one of Evelyn's fav guys. ;-) He was also brought over to be Nathan Lane's replacement in The Producers and it lasted, um, um...

(Dorine)Loehmann's" (a Brooklyn shopping institution of more downscale clothing). (Evelyn) LOL. That hurt, Dorine;-( Once on Fifth, they are over on 17th &7th, I think. I go by the one in Sheepshead Bay fairly frequently, not a bastion of upscale shopping. ;-) The one in Palm Bch Gardens,FL was popular for the sales. I just meant it wasn't Armani, Saks 5th Ave, or Barney's....at least now. By the same token, it's also not Century 21 (the store, not the realtor ;-)), which is along the same idea of TJ Maxx or Marshall's, but not a chain...just 2 to my knowledge (again 1 in Brooklyn). I have to say I have tried desperately to get into Keen Eddie, but failed miserably. :-( (Karen) He was also brought over to be Nathan Lane's replacement in The Producers and it lasted, um, um... Blink and you missed him territory. Thanks for the info 'bout Julian Rhind Tutt, Linda. It was driving me crazy, too, about where I'd seen him. Initial impressions of Dogville... I'm surprised at myself. I was considerably more compelled by it than I thought I would be. That may not be saying much as I wasn't in the mood for it...bad day...and didn't expect to like it much anyway. Found the setup very intriguing including the foley work (sound) with the door sounds (opening/closing) and occasionally the steps on particular types of floor (wood vs. carpet). My film class teacher's pet subject seems to be foley work as he talks about it frequently and went into a long discussion of it last night again. The camera work was initially annoying, but subsequently only intermittently disturbing. What a bunch of shallow, two-faced, hypocritical, mean, selfish people in that town. I was rooting for NK in the end, although she was just as selfish as they were in her own way. I think I found NK a bit too understated for my taste and her character's penchant for basically sacrificing herself and her dignity by not standing up for herself annoyed me. The movie could've been considerably shorter I think if she had defended herself. ;-) I was actually too focused on how great she looked (bothered me more than Cold Mtn). Was lovin' her short hair. Actually the way it was going, I think if the first hour was expanded a bit to under 2 hours, it would've made a decent movie in itself. I liked the music with the chapter titles, which got a bit more amusing near the end. Odd end credits. I really liked James Caan in the end, but what a bizarre conversation.

(Karen) He was also brought over to be Nathan Lane's replacement in The Producers and it lasted, um, um... (Dorine)Blink and you missed him territory. Just in time for me to see him in it (with Steven Webber) and I thought he was good. What a fun production!

closing tag I hope..

now why not?

(Dorine)I think I found NK a bit too understated for my taste and her character's penchant for basically sacrificing herself and her dignity by not standing up for herself annoyed me. The movie could've been considerably shorter I think if she had defended herself. ;-) Oh, but she's goodness personified Several reviewers compared her to a female Christ;dragging the wheel around etc.

(Dorine) her character's penchant for basically sacrificing herself and her dignity by not standing up for herself annoyed me. Sacrificial females seem to be a recurring theme (Breaking the Waves and Dancer).

Ah, I wouldn't have picked up on that as I've never seen those.

I can't comment on whether NK's character is supposed to be Christ-like but, in the other two movies, the sacrifices were made on behalf of specific individuals: husband and son, respectively. These women would do anything and even fought against help from others, at least in Dancer (can't remember if that happened in BTW too).

(Evelyn) Several reviewers compared her to a female Christ;dragging the wheel around etc. So, then would the end be considered The Apocalypse, after she is set free? She did border on providing "absolution" with her own "Resurrection," but then it went the other way.

Ah, I wouldn't have picked up on that as I've never seen those. By all means, rent them, Dorine! Sacrificial females seem to be a recurring theme (Breaking the Waves and Dancer). Karen gets an A+

Note: If you can't stand Drool Fashion Police comments, don't read. ;-) When I first saw pics of Gwynnie from ShowWest, I thought, "oh, what a nice, flattering dress for being nearly due." (see below) Then I caught the shoes! Why?????

The dress was ok....til I saw that elongated front. Would've been cuter as a shorter sundress, I think. Jude needs his pants hemmed, too. Looks like he has a broken ankle.

Think Jude just needs a box to stand on instead of his tiptoes.

This is the group that would've had "first look" at Trauma and passed. Its guiding principle: "Smart movies for grown-ups" ;-) Low-key WIP aims for grown-up moviegoers By Gregg Kilday March 26, 2004 LAS VEGAS -- At ShoWest 2004, hoopla is the name of the game -- much of the week has been devoted to stars, stunts and goody bags. But amidst the carney atmosphere, Warner Independent Pictures, the newest studio-based specialty films unit, opted for a low-key approach as it made its first visit to the theater owners' convention. Setting up shop in a suite on the 34th floor of the Paris hotel, the WIP team -- led by president Mark Gill, exec vp distribution Steven Friedlander and exec vp publicity/marketing Laura Kim -- simply let the films speak for themselves as they previewed upcoming trailers for visiting exhibitors. It's been just over six months since Warner Bros. president Alan Horn and production president Jeff Robinov tapped Gill, a veteran of Miramax Films and the Stratus Film Co., to head the new venture. And WIP already has six films scheduled for release in the second half of this year. Its first offering, "Before Sunset," a sequel to Richard Linklater's 1995 feature "Before Sunrise," reunites the original's Ethan Hawke and Julie Delpy nine years after their one-day encounter in Vienna as they meet up again in Paris. WIP plans to open the film in the top 10 markets nationwide July 2, daring to offer it as adult-oriented counterprogramming on the same weekend that "Spider-Man 2" sets down in theaters. Aware that the company's first few releases could serve to establish WIP's brand identity, Gill has a simple formula for WIP's aspirations -- "Smart movies for grown-ups" is how he puts out. The WIP team says their initial meetings with both art house operators and more commercial theater chains suggest that there is a ready market. "Art market people are just famished for more quality films for adults," Gill says. "There is still a shortage. Also, it's a matter of pure demographics. Look at the aging baby boomers: Their taste has matured, and they have far more disposable income than their parents did. The other thing that's so telling, with DVD and video growing so explosively, people have seen more films and they are more film literate. And therefore, their demand for more sophisticated fare grows." Seconds Friedlander: "Many of the circuits now are dedicating two or three screens in their multiplexes solely to art (films). They're calling it by a separate name with a separate booker, different decor, separate concession stands. Anecdotally, it's always been said the adult audience doesn't buy as much popcorn per capita. But they do now tend to be more than a once-a-month audience -- art films have become a 52-week-a-year business." Subsequent months will see WIP roll out "A Home at the End of the World," theater director Michael Mayer's adaptation of Michael Cunningham's Pulitzer Prize-winning novel about an alternative family starring Colin Farrell, Robin Wright Penn and Sissy Spacek; "We Don't Live Here Anymore," John Curran's adaptation of two Andres Dubus II short stories starring Mark Ruffalo, Laura Dern, Peter Krause and Naomi Watts; "Criminal," a contemporary caper movie starring John C. Reilly and Diego Luna and directed by Gregory Jacobs; "Around the Bend," a search into a family's past written and directed by Jordan Roberts and starring Michael Caine, Christopher Walken and Glenne Headly; and "A Very Long Engagement," a new film from the "Amelie" team of actress Audrey Tautou and director Jean-Pierre Jeunet. Grown-up moviegoers are forewarned.

(Moon) Then I caught the shoes! Ooooohhhh...poor thing! Is that what they mean when they say 'her belly was so big she couldn't see her shoes?'! Surely Gwen must have not known what she put on! ;-)