September 20, 2012 5:00am EST
The Fight Club star admits he takes an interest in the Indian entertainment industry and would be open to signing on for a Bollywood project.
He tells Indian news agency IANS, "Indian cinema seems to be growing very well at its own pace. I would love to work in a Bollywood film as there is so much drama and colour in the films there. The filmmaking, I hear, has evolved a lot in India, and of late we have witnessed some good films making a presence at the Oscars and the world stage. That tells you a lot about the quality of the actors and the films."
Pitt also regrets missing out on the chance to work with Bollywood actress Aishwarya Rai Bachchan after she turned down a role in his 2007 epic Troy.
He adds, "Given a chance, I would like to work with Aishwarya Rai Bachchan, because she's a versatile actor. She is one of the most popular actresses of Bollywood, who has achieved huge acclaim in the west for her style, beauty and acting skills. I think we missed an opportunity to be cast together for Troy."
September 18, 2012 9:38am EST
This review was originally printed as part of Hollywood.com's Comic-Con 2012 coverage
A reimagining of the 2000 AD label comic book that inspired Judge Dredd the 1994 Sylvester Stallone action flick that took sci-fi wackiness to new heights Dredd scales back on the futuristic elements and puts an emphasis on the brutality in store for the Judge's criminal victims. In this not-so-distant world a Judge has the power to decide your fate right upon capture — and usually the sentence involves some type of ammunition being fired into the offender's skull. Dredd is a grimy smoldering relentless 90 minutes that manages to inject its in-your-face fight scenes with an unexpected bit of humanity. Shocking considering the buckets of blood spilled during Judge Dredd's warpath which begins from his very first appearance.
This time around Dredd is played by Karl Urban a chiseled beast of a dude who balances the machismo with a healthy dose of one-liner comedy. A great central hero. To investigate a series of murders connected to one of Mega City 1's most notorious crime figureheads Dredd is partnered with an exact opposite: Cassandra (Olivia Thirlby) a new recruit who makes up for her lack of killer instinct with a mutant psychic power. She may not have the throat-ripping capabilities of Dredd but once this girl gets in a baddie's head it's over. Dredd is wary of his new sidekick potential — even more so when the challenge they face reveals itself. Cooped up at the top of a 120+ story building is Ma-Ma (Lena Hedley) whose operation will soon put a new drug — dubbed "Slo-Mo" — in the hands of every Mega City 1 citizen. To stop her Dredd and Cassandra must slay her goons as they ascend the skyscraper. Simple premise lots of bloodshed.
Unlike this year's The Raid which took a similar approach to the non-stop antics of a martial arts film Dredd opts for the slow burn approach. Director Pete Travis (Vantage Point) wants us to take a big whiff of every musky apartment in Ma-Ma's "Peach Trees" tower; he wants us to feel every drip of sweat that trickles down Dredd's stubble while the law enforcer waits patiently to attack; he wants us to feel the complete stop of time when the Slo-Mo drug kicks in and even droplets of suddy bath water hang in the air from a splash; and he wants us to feel like we're in the front seat of a Gallagher show when Dredd fires an explosive bullet into the mouth of a henchman and watches the head explode into bits (all in clear and crisp 3D). Dredd is near-fetishistic in its approach to gore – I found myself mouth agape making audible "EEEEEEEEAAAAH" sounds throughout the film — but plays well to the lead character's ferocious nature.
The hyper-style doesn't end with Dredd's unique array of finishing moves either; Cassandra's telepathy is a weapon of the senses that Travis mines for every flashy montage sequence he can squeeze out of it. In one sequence Cassandra uncovers an important clue by subjecting one of Ma-Ma's assailants to mental torture a terrifying whirlwind of imagery of saturated nightmares (if you've ever watched Saw after scarfing down an undercooked burrito you know what I mean). Travis amps "MTV editing" in these sequences an assault to the senses that's just as purposefully grating as the gritty fight sequences.
What makes the whole thing worth watching are the film's two leads. Urban has the thankless task of playing Dredd under the Judge's signature mask — someone obviously forgot to tell the police force of the future that the eyes are the windows to the soul. Urban makes up for it with a spectrum of snarls and a voice that sends chills down the spine. He also knows his way around comedy timing (as evidenced by his equally-impressive performance as Bones in J.J. Abrams' Star Trek) delivering kitschy zingers that click with Dredd's rough and tough world. The yin to his yang Cassandra could have been another helpless female costar who steps in with magical powers when the time is right but Thirlby is the real heart and soul of Dredd breathing compassion into a dimly lit situation and reflecting the grey morality of the entire Judge program. Why are people cool with cops coming in and blowing them away when they see fit? Why is that the new definition of heroism? The script by Alex Garland (28 Days Later Never Let Me Go) is smart to ask those questions and Cassandra is the perfect proxy. Thirlby as adorable as she is plays the gal fierce a sensible kind of Judge that can live side by side with Dredd.
There are a lot of people who won't be able to stomach Dredd partly for the level of violence partly for the consistency and pace of how that violence is unleashed. The small scale and singular location of the action don't allow Dredd to keep the surprises coming. After awhile watching human heads splatter like water balloons becomes taxing and unenjoyable (which some psychologists may say should have been the case in the first place). Hedley does a decent job of making her psychotic Ma-Ma into a wicked villain who deserves her due but without a fleshed out cause and bigger picture implications it's hard to care. Her squad of faceless men are more like punching bags then characters. But over-the-top mayhem has its place and when accompanied by a badass like Dredd and a pumping electronica score it's hard not to cheer when the Judge lays down the gruesome law. Dredd isn't a great film but it's a great Comic-Con film — one worth catching at midnight and screaming your lungs out all in good absurd fun.
September 14, 2012 1:50pm EST
The summer movie season has finally come to a close. Now, instead of a weekly must-see superhero reboot/sequel/prequel/whatever, you'll have to choose between Oscar contenders, cute animated stuff, teary dramas, wacky indie comedies, and so on and so forth. If you're anything like me, then you get most excited over Hollywood's promising sci-fi options.
The thing is, we can learn a lot about your personality based on which sci-fi/fantasy flick you're most excited for. Look below for your favorite film, and I'll tell you a thing or two about your deepest, darkest thoughts. You're welcome for the money saved on therapy bills.
Release Date: Sept. 21
You should see it if…: You were the only kid in your small town that had decent taste in movies, but when you got to college and all of the other film majors liked the same things, you panicked. You needed to find a way to distance yourself. So you started liking really bad, critically panned action flicks, and now you argue with everyone you know that they're actually really good. They just don't get it. Also, you secretly still love The Fifth Element, and your tickets for next year's Comic Con are already booked.
Release Date: Sept. 28
You should see it if…: Your mind is always on hyperdrive, because you're constantly searching for the answers to life's most unanswerable, existential questions. You took a dystopia class at your fancy liberal arts university, and you consider yourself an expert on the topic. Your favorite TV shows are Fringe, Dr. Who, and the re-imagined Battlestar Galactica series. You've read The Stranger way too many times, and love nothing more than quoting its final paragraph, ad nauseam.
Movie: Cloud Atlas
Release Date: Oct. 26
You should see it if…: You were a nerd in high school and college, but now you've sort of grown into your looks and have a decent job. Still, you can't get over being unpopular, and that will influence how you treat yourself and others well into your '30s. You really wish that Terrence Malick would do more interviews, and you will argue The Tree of Life to death. You love the maddening pace of any David Milch television show — not just Deadwood, the good one. All of them.
Movie: The Twilight Saga: Breaking Dawn, Part 2
Release Date: Nov. 14
You should see it if…: Thank God for 50 Shades of Grey, right? Because without it, you'd be panicking more that you already are that R-Patz's Twi-days are over. You have masochistic fantasies, but your husband/boyfriend will never know, because you keep them locked deep inside in your head in case a Robert or Christian type ever comes around with the key. You're attracted to people that you want to "fix" and that's why you're bored in your current relationship — he simply isn't flawed enough. You want to sleep with most of the men on Game of Thrones — not the actors, the characters. Even Jon Snow, who is either way, way younger or way, way older than you.
Follow Shaunna on Twitter @HWShaunna
[PHOTO CREDIT: Warner Bros, Lionsgate, TriStar Pictures, Summit Entertainment]
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September 11, 2012 1:15pm EST
Christopher Darden repeated his claim that O.J.'s high-profile lawyer Johnnie Cochran may have torn the glove the prosecutors claimed Simpson used to kill his wife and her pal in an interview with Reuters, and now former members of the fallen sportsman and actor's legal team are speaking out to defend their late associate and friend.
Former defence attorney Carl Douglas has denied Darden's allegations that the bloody glove was tampered with - to make sure it didn't fit the accused when he tried it on in court in 1995.
The incident led to Cochran's famous statement to the members of the jury: "If it doesn't fit, you must acquit".
Simpson, who is now serving time in Nevada for armed robbery and kidnapping, was acquitted of the murders.
Darden told the students, "I think Johnnie tore the lining (of the glove). There were some additional tears in the lining so that O.J.'s fingers couldn't go all the way up into the glove."
Cochran's co-counsel, Douglas, has expressed outrage at Darden's claim, stating, "He lost and he should get over it and go on with his life. It is an insult to the dignity and integrity of one of the greatest lawyers in America to imply that he did anything unethical during that historic trial.
"We were under the watchful eye of a sheriff's deputy and court staff every moment the glove was being examined. The very first time Mr. Simpson placed his hand inside the murder glove was when all of America saw that it did not fit his massive hand. I am offended for Mr. Darden to suggest otherwise."
Shawn Holley, another member of the defence team, tells the Los Angeles Times, "Mr. Darden's self-serving assertion that Johnnie Cochran tampered with the glove - or any piece of evidence - is false, malicious and slanderous... Almost 20 years later, it seems Mr. Darden is still trying to exculpate himself from one of the biggest blunders in the history of jurisprudence."
September 10, 2012 8:50am EST
The latest entry in the escalating catalogue of vampire dramas isn't an adaptation of a young adult fiction novel (it's actually based on a play by English writer Moira Buffini), but it wouldn't be hard to mistake it as one. Sporting gorgeous photography of the English seaside and great performances from actresses Gemma Arterton (Quantum of Solace) and Saoirse Ronan (Hanna), Byzantium follows a mother and daughter as they try to get by without giving away their bloodsucking heritage. Along the way, their history is unraveled and a young romance emerges — sound familiar?
Like any good YAF story, Byzantium is enhanced by its style and character voices. When we pick up with them, Clara (Arterton) and the Eleanor (Ronan) are at constant odds. Their familial quarreling heats up exponentially when the they take up residence in an abandoned hotel Clara transforms into a brothel. She's been in the prostitution business for 200 years, and while Eleanor demands she give up the business, Clara sees it as their only money-making opportunity. The new living situation sends Eleanor on a desperate search for something more, another soul she can finally reveal her secret to. She finds it in Frank (Caleb Landry Jones), a shlubby teen who takes a fancy in Eleanor (although she's also up there in years, she's forever incased in the body of a 16-year-old). With an infuriating mother figure at home, Eleanor latches to Frank in hopes of spilling the beans and putting an end to life on the road.
Director Neil Jordan may not be a recognizable name to most young adult fiction fans, but he's one of the best in the business when it comes to magical realism. His oeuvre includes The Company of Wolves, Ondine, and most appropriately, Interview with the Vampire. Byzantium skews younger than his previous work, but the artistry is still intact. As Clara and Eleanor's backstory is revealed — a dense mythology involving 19th century soliders, a brotherhood of vampires, and a mysterious island with the power to slay and reanimate its visitors — Jordan is given an opportunity to wow us with gothic imagery. Murders of crows flooding a white sky, blood flowing from mountain tops like a river, close up shots of a vampire's killer thumbnail as it extends into a small blade — Jordan tells his story with vivid choices and has no issue weaving them seamlessly into his narrative. Bold, but fitting.
The modern material is served with its own stunning sequences. One could argue that the tantalizing act of sucking someone's blood is what has kept vampire stories around for centuries. Jordan seizes the opportunity, making Arterton's various gory hunts beautiful and terrifying.
But Byzantium may be better suited for those well-acquainted with young adult fiction, thanks to its meandering structure and pace. The first half of the film mostly features young Eleanor walking around town emoting in voiceover. She writes diary entries with her secrets then crumples them into garbage — but not without reciting them to the audience first. One of the biggest complaints of YAF naysayers is that the fiction spends too much time in their protagonists' heads. The stories spend countless pages diving into "feelings" rather than pushing the plot forward with sensical details. That's a valid criticism of Byzantium. But it may not even be a factor that registers for those accustomed to the style.
[Photo Credit: Parallel Films Limited / Number 9 Films]
Follow Matt Patches on Twitter @misterpatches
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TIFF 2012: 'Cloud Atlas' Is a Big Picture That Explores the Big Picture
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September 08, 2012 7:36pm EST
David Mitchell's novel Cloud Atlas consists of six stories, set in various time periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own, the previous first person account picked up and read by a character in its successor, creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer (Run Lola Run), Lana Wachowski and Andy Wachowski's (The Matrix) film adaptation, which debuted at the Toronto Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a movie of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigate journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451, a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense, but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than The Wachowski's seminal sci-fi flick and the additional ambition to boot. Every second is a sight to behold.
The trio directors are known for their visual prowess, but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft, the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members, an obvious player who ties the film together with brilliant cross-cutting and overlapping. Timothy Cavendish, the elderly publisher, could be musing on his need to escape, and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher, also feeling the impulse to run. The details of each world seep into one another, but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas, even when Tykwer and The Wachowskis have infused three action sequences — a gritty car chase in the '70s, a kinetic chase through Neo Seoul, and a foot race through the forests of future millenia — into one extended set piece. This is a unified film with distinct parts, echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity, yet another form of juxtaposition that wows. Within a few seconds, Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry, Hugh Grant, Jim Sturgess, Jim Broadbent, Ben Whishaw, Hugo Weaving, and Susan Sarandon play the same game, taking on roles of different sexes, races, and the like. (Weaving as an evil nurse, returning to his Priscilla, Queen of the Desert cross-dressing roots, is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer, but she's never playing Halle Berry. Even when the actors are playing variations on themselves, they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment, a Tykwer creation that packs a particularly German sense of humor, is on a smaller scale than the rest of the film but the actor never dials it down. Every story, character, and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas is a polarizing film, dividing Toronto audiences down the middle. Some say it falls flat, others call it a triumphant piece of filmmaking (I fall in the latter category). But a majority of the TIFF audience walked away admitting that the pure ambition was present on screen, an attempt to use every element of moviemaking in an effort to tell a sweeping story about humanity. Like last year's Oscar-nominated Tree of Life, Cloud Atlas aims to pose big questions, albeit with a larger scale than the 2011 indie. A slower moment or two may have helped The Wachowskis and Tykwer's film to hit a powerful emotional chord, but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year, there won't be a bigger movie than Cloud Atlas.
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August 26, 2012 7:47am EST
We’ve officially run out of dangerous vehicles for movies. Now that Joseph Gordon-Levitt and his fixed gear, steel frame bicycle have pedaled onto the action movie scene, we’ve reached a crucial moment. We may have run out of exciting, dangerous vehicles to use as pegs for great action stories. Bikes were the last, albeit unexpected, frontier. As a seven-year veteran of New York, I’m well aware that anyone who chooses to dodge in an out of traffic on a bike (let alone one without breaks) is taking their life in their hands. It’s truly a terrifying daily activity, and this weekend’s Premium Rush solidifies that. But that’s it. What else have we got left? We’ve covered everything from VW Bugs to Greyhound busses, to skateboards and fishing boats. I’m calling it. It’s time to move onto the next logical vehicle: the Zamboni. Or the zip line, or the Segway, followed swiftly by the pogo stick. The possibilities are endless, really. Naturally, we've got an idea of what that might look like: ZAMBONI: The Movie Tagline: “All heat, no speedometer.” Starring: Danny McBride as the Zamboni Driver Premise: Jeff (McBride) is just your average Zamboni driver, living for the thrill of melting ice with his high-powered vehicle, though it generally runs at a glacial pace. But when terrorists hijack Jeff’s ice rink for their own sadistic purposes, the average Joe is forced to take matters into his own hands. It’s time for evil to find out what life is like on a vehicle whose speed is without measure. * *Literally, Zambonis don’t have speedometers. Zipper Tagline: “Zip this.” Starring: Shia LaBeouf as the zip line guide and Crispin Glover as the villain Premise: Chet (LeBeouf) thought he was getting a pretty sweet deal: summer job in Alaska, giving zip line tours to the jubilant, chatty cruise line passengers dumped on shore by day, partying with his fellow hot, young tour guides around campfires at night. But when a greedy business developer (Glover) hatches a seedy plan to destroy the zip line forest to build shiny, new condos, Chet is forced to stop him. By any means necessary. Steel Spring Revolution Tagline: “Earth to Aliens: It’s time to bounce.” Starring: Kellan Lutz as the Pogo Champion Premise: Extreme pogo is not just a good time, it’s a way of life. And when an alien invasion threatens to destroy Pittsburgh during the annual Pogopalooza* completion, it’s up to Biff (Lutz) and his friends to use their gravity-defying skills to defeat the intergalactic foes. *Pogopalooza is a real competition that takes place in Pittsburgh. All The President’s Wheels Tagline: “D.C., meet your unlikeliest hero.” Starring: Jason Schwartzman as a D.C. Segway tour guide Premise: American History expert Bob Benson (Schwartzman) was laughed out of academia by his colleagues when a simple fact-checking mistake rendered his book on the life of Herbert Hoover the joke of the entire historian community. Now, he gives Segway tours of Washington’s National Treasures. That is, until he is the sole witness to a major heist on the National Gallery, and with his silent, upright vehicle, finds the courage to teach the thieves that no one messes with America. Follow Kelsea on Twitter @KelseaStahler More: 'Premium Rush' and Four Other Wildly Misleading Titles Joseph Gordon-Levitt Talks 'Premium Rush' Joseph Gordon-Levitt, It's Time to Start Taking Your Shirt Off
August 20, 2012 10:16am EST
The tragic and shocking passing of acclaimed director Tony Scott (Top Gun, True Romance, Crimson Tide, Enemy of the State, Man on Fire) has left Hollywood in a state of disbelief and mourning. The 68-year-old, whose illustrious career included producer on films like Prometheus and The Grey and executive producer on shows such as The Good Wife and Numb3rs, died Sunday when he fatally jumped "without hesitation" off the Vincent Thomas Bridge in San Pedro, Calif. He reportedly left a suicide note at his office. (Latest reports reveal that the filmmaker suffered from inoperable brain cancer prior to his suicide.) Scott, brother of fellow legendary director Ridley Scott, is survived by wife and their two young sons.
While so many have struggled to find the right words to comprehend his passing and pay tribute to his impact on Hollywood, some of Scott's friends, colleagues, and admirers have given statements and others took to their Twitter to express their feelings on the news.
In a statement released to Hollywood.com, Oscar winner Denzel Washington, who worked with Scott on five projects, including his last film Unstoppable said, "Tony Scott was a great director, a genuine friend and it is unfathomable to think that he is now gone. He had a tremendous passion for life and for the art of filmmaking and was able to share this passion with all of us through his cinematic brilliance. My family sends their prayers and deepest condolences to the entire Scott family."
According to E!, Top Gun star Tom Cruise said in a statement, "Tony was my dear friend and I will really miss him. He was a creative visionary whose mark on film is immeasurable. My deepest sorrow and thoughts are with his family at this time." Nicole Kidman, who worked with Cruise and Scott on Days of Thunder stated, "I'm so so sad. I loved Tony and he was always so good to me. He will be deeply missed by so many of us that knew him."
You can read a sampling of what Hollywood had to say on Twitter below.
Love ya Tony, always have, always will— Christian Slater (@ChristianSlate4) August 20, 2012
No more Tony Scott movies. Tragic day— Ron Howard (@RealRonHoward) August 20, 2012
RIP Tony. You were the kindest film director I ever worked for. You will be missed. ow.ly/d5Ngo— Val Kilmer (@ValEKilmer) August 20, 2012
There hasnt been 1 day since it came out that some1 doesnt say to me"I love #TrueRomance" Tony Scott was a sweet enthusiastic & lovin man— Michael Rapaport (@MichaelRapaport) August 20, 2012
Tony Scott. Damn. Great knowing you, buddy. Thanks for the inspiration, advice, encouragement, and the decades of great entertainment.— Robert Rodriguez (@Rodriguez) August 20, 2012
So sad to hear the news about Tony Scott. His movies made growing up more fun for me. My prayers and condolences to the Scott family.— Justin Timberlake(@jtimberlake) August 20, 2012
I'm deeply shocked and saddened by the news of Tony Scott's death and my thoughts and prayers are with his family tonight.— Josh Charles (@MrJoshCharles) August 20, 2012
Such sad news about Tony Scott. Heartfelt condolences to his family and friends.— Jon Favreau (@Jon_Favreau) August 20, 2012
Deeply saddened to hear the news about Tony Scott. A fine film-maker and the most charming, modest man.— Stephen Fry (@stephenfry) August 20, 2012
So very, very sorry to hear of the death of Tony Scott. A terrible, terrible loss of a truly talented, brilliant man.— Martha Plimpton (@MarthaPlimpton) August 20, 2012
Awww Tony.Wish you had felt there was a way to keep going.What a sad waste.My thoughts go out to his wife and beautiful children.— Duncan Jones (@ManMadeMoon) August 20, 2012
RIP Tony Scott. Damn. He was a huge inspiration. Very sad.— James Gunn (@JamesGunn) August 20, 2012
Saddened by the death of Tony Scott. A wonderful film maker and a funny, sweet guy. My condolences to his family.— Susan Sarandon (@SusanSarandon) August 20, 2012
The death of Tony Scott is shocking and saddening. He was an inspired craftsman.— Roger Ebert (@ebertchicago) August 20, 2012
So sorry to hear of Tony Scott's passing. Such a sad loss. Condolences to his family, friends and fans of his films.— yvette nicole brown (@yvettenbrown) August 20, 2012
Collaborating with the great Tony Scott was one of the most rewarding experiences of my life. My thoughts are with his family tonight.— Richard Kelly (@JRichardKelly) August 20, 2012
Devastated by the death of Tony Scott. Just watched True Romance 1 of my top 5 fav movies ever a few nights ago. #RIP— Dane Cook (@danecook) August 20, 2012
I've been extremely fortunate in my career. A career I wouldn't have without Tony Scott's persistence, love and relentless support.— Joe Carnahan (@carnojoe) August 20, 2012
Taking a moment to reflect on Tony Scott's life & work! My sympathies to his family. Feeling the loss!— Samuel L. Jackson (@SamuelLJackson) August 20, 2012
My heart stopped when I heard of the tragic death of 1 of r most inspiring directors, Tony Scott. Rest In Peace Tony. U will be missd so...— Adam Shankman (@adammshankman) August 20, 2012
Tony Scott was incredibly encouraging to me at an early stage of my career. He was generous, gregarious & immensely talented. Sadness.— mark romanek (@markromanek) August 20, 2012
True Romance. The scene with Christopher Walken and Dennis Hopper in a Detroit railyard is a classic. RIP Tony Scott.— Michael Moore (@MMFlint) August 20, 2012
Tony Scott director of my favorite movie man on fire." I wish you had moretime "— Chris Rock (@chrisrock) August 20, 2012
So sad to hear about Tony Scott. A master of grand action, nail biting pace and atmosphere. A real loss to film making.— Simon Pegg (@simonpegg) August 20, 2012
It's bittersweet to see the overwhelming praise for Tony Scott's work today. It's very much deserved, but sad he didn't hear it for himself.— edgarwright (@edgarwright) August 20, 2012
#RIPTONYSCOTTBig fan. Thank you for all of your movies. Sad day.— Peter Facinelli (@peterfacinelli) August 20, 2012
Tony Scott, rest in peace. How horribly sad.— Kat Dennings (@OfficialKat) August 20, 2012
RIP Tony Scott. Never knew him but always heard nothing but great things about him and I loved his films. Terrible loss for cinema.— Eli Roth (@eliroth) August 20, 2012
Rest in Peace...Tony Scott— Dylan McDermott (@DylanMcDermott) August 20, 2012
Just so sad about Tony Scott. R.I.P.— David Boreanaz (@David_Boreanaz) August 20, 2012
Two of my favorite movies of all time, "true romance" and "the hunger" #RIPTONYSCOTT— Evan Rachel Wood (@evanrachelwood) August 20, 2012
Shocked.Tony Scott is a legend.Tragic and sad day.Thoughts and prayers for his family.— Marc Webb (@MarcW) August 20, 2012
RIP mr. Tony Scott. :(— Kristin Chenoweth (@KChenoweth) August 20, 2012
"I make a movie because it's something that inspires me" ~ Tony Scott 6/21/44 - 8/19/12 Your movies inspired me..— Dwayne Johnson (@TheRock) August 20, 2012
met tony scott once. thought we would meet again. saddened by news of his passing. grateful for the work he leaves behind. peace to you sir.— Zachary Quinto (@ZacharyQuinto) August 20, 2012
[Photo credit: WENN.com] More: Top Gun Director Tony Scott Commits Suicide Tony Scott Had Inoperable Brain Cancer – REPORT Remembering Tony Scott and His Cinedmatic Legacy — VIDEOS
August 15, 2012 5:00am EST
The Tony Award-winning production, starring Steve Kazee, has recouped its initial costs in less than six months - after 169 performances.
In an age where one out of every three Broadway shows make a profit, producers claim the pace was "faster than any Tony award-winning best musical in more than a decade".
The Book of Mormon, another current New York theatre success story, recouped its investment last year (11) in nine months.
August 09, 2012 5:00am EST
Cameron's 3D sci-fi epic became the highest-grossing film in Hollywood history in 2009, taking more than $2.7 billion worldwide.
He has been busy working on a second Avatar film, which will be set underwater and released in 2015, and now Cameron is set to share his knowledge with others after launching a new branch of his company, Cameron Pace Group, titled CPG China Division.
Cameron, who recently gave his hit movie Titanic a 3D makeover too, tells Reuters, "We're not going to tell Chinese film makers how to make movies. We are going to help them make a transition to 3D production technology as cost effectively as possible, and in a way that doesn't inhibit creativity."
The new venture is an investment deal with state-owned film distributor Tianjin North Film Group and Tianjin Hi-tech Holding Group.