Beastie Boys bandmates Ad-Rock and Mike D are among the stars in Yoko Ono's video for her new single Bad Dancer. The rappers, who collaborated with Yoko Ono's Plastic Ono Band on the song, join Questlove, Deerhoof's Greg Saunier and soul singer Roberta Flack, among others in the quirky promo, directed by Ben Dickinson.
Ono tells Rolling Stone, "These are creative people and they have unique movements. They don't move like other people do."
What do Eddie Murphy, Bette Midler, Paul Newman, and Angie Dickinson have in common? No, they all haven't been at the same party at Brett Ratner's house. They are all winners of a Golden Globe. No, Murphy didn't get one for Pluto Nash he got one in 1982 as the New Star of the Year. The what now?
The Hollywood Foreign Press Agency started giving out the Most Promising Newcomer award in 1948, four years after their inception, to the person they thought was going to be hottest new thing to take Hollywood. The first winners were Richard Widmark and Lois Maxwell, people your grandparents might not even remember. From 1954 to 1965 the award was given out to three to four men and women who the European journalists thought were going to take the world by storm. In 1966 the award switched again and went to an actor and actress for a specific movie and, possibly because so many newcomers didn't show any promise, was renamed. The first winners were Robert Redford for Inside Daisy Clover (I'm sure he was!) and Elizabeth Hartman for A Patch of Blue.
Those first winners highlight exactly the problem with this specific category: more often than not the winners wound up being duds. Sure Robert Redford is one of the biggest stars in the world but Elizabeth Hartman? Let's look at 1969 Leonard Whiting and Olivia Hussey were given a pair of trophies for their portrayal of Romeo & Juliet. Whiting retired from films by the mid-'70s and Hussey went on to star in some crappy horror films and then become a crazy agorophobic who had a hard time leaving the house. These are your New Stars of the Year, ladies in gentleman.
By 1983 the Globes were sick of giving this award to turkeys and gave out the final salutes in the category to Ben Kinglsey and Sandahl Bergman. All in all, the awards have a pretty lousy track record. Of the 59 actors and 58 actresses given the honor, I count only 17 actors (Richard Burton, Anthony Perkins, Paul Newman, James Garner, George Hamilton, Warren Beatty, Terence Stamp, Peter O'Tool, Omar Sharif, Albert Finney, Robert Redford, Dustin Hoffman, Jon Voight, James Earl Jones, Arnold Schwarzenegger, Eddie Murphy, and Ben Kingsley) and 14 actresses (Shirley MacLaine, Natalie Wood, Jayne Mansfield, Sandra Dee, Angie Dickinson, Jane Fonda, Ann-Margret, Patty Duke, Mia Farrow, Tatum O'Neal, Jessica Walter, Diana Ross, Jessica Lange, and Bette Midler) who achieved any sort of lasting modicum of celebrity (gauged by, well, whether or not I know who the heck they are). That's a 28% and 24% success rate predicting the promisenessness of newcomers. You have better odds playing Scratch-a-Millions from your local lottery system.
I reached out to the Hollywood Foreign Press Association for a comment on why the category was struck from the record and if they ever hope to bring it back. They didn't return my request for comment. They're probably still embarrassed about just how lousy their crystal ball is.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: Frank Edwards/Fotos International/Getty Images]
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Saturday was a big day for the TV world as the 2012 Creative Emmys took place. Hollywood.com was both backstage and on the carpet, bringing you the scoop direct from the source. HBO and its epic hit Game of Thrones were the night's biggest winners, with the network taking home 17 statues — six of them for GoT. CBS wasn't far behind with 13 wins, followed by PBS with 11. Frozen Planet, Great Expectations, and Saturday Night Live each took home four awards, resulting in a three-way-tie for second place after Game of Thrones. See below for the list of winners:
Outstanding Casting for a Drama Series: Junie Lowry Johnson, Libby Goldstein, Judy Henderson, Craig Fincannon, Lisa Mae Fincannon for Homeland
Outstanding Casting for a Miniseries, Movie, or a Special: David Rubin, Richard Hicks, Pat Moran, Kathleen Chopin for Game Change
Outstanding Casting for a Comedy Series: Jennifer Euston for Girls
Outstanding Guest Actress in a Comedy Series: Kathy Bates for Two and A Half Men
Outstanding Prosthetic Makeup for a Series, Miniseries, Movie, or a Special: Greg Nicotero, Jake Garber, Andy Schoneberg, Kevin Wasner, Gino Crognale, Carey Jonse, Garrett Immel for The Walking Dead
Outstanding Makeup for a Miniseries or a Movie (Non-Prosthetic): Mario Michisanti, Francesca Tampieri for Hatfields & McCoys
Outstanding Makeup for a Single-Camera Series (Non-Prosthetic): Paul Engelen, Melissa Lackersteen for Game of Thrones
Outstanding Makeup for a Multi-Camera Series or Special (Non-Prosthetic): Zena Shteysel, Angela Moos, Patti Ramsey Bortoli, Barbara Fonte, Sarah Woolf, Nadege Schoenfeld for Dancing With the Stars
Outstanding Costumes for a Series: Michele Clapton, Alexander Fordham, Chloe Aubry for Game of Thrones
Outstanding Costumes for a Miniseries, Movie or a Special: Annie Symons, Yvonne Duckett for Great Expectations
Outstanding Hairstyling for a Miniseries or a Movie: Monte C. Haught, Samantha Wade, Melanie Verkins, Natalie Driscoll, Michelle Ceglia for American Horror Story
Outstanding Hairstyling for a Multi-Camera Series or Special: Bettie O. Rogers, Jodi Mancuso, Inga Thrasher, Jennifer Stauffer, Cara Hannah Sullivan, Christal Schanes for Saturday Night Live
Outstanding Hairstyling for a Single-Camera Series: Anne "Nosh" Oldham, Christine Greenwood for Downton Abbey
Outstanding Guest Actor in a Drama Series: Jeremy Davies for Justified
Outstanding Choreography: Joshua Bergasse for Smash ("National Pastime", "Let's Be Bad", "Never Met A Wolf")
Outstanding Music Direction: Rob Berman, Rob Mathes for The Kennedy Center Honors
Outstanding Music Composition for a Series (Original Dramatic Score): John Lunn for Downton Abbey
Outstanding Music Composition for a Miniseries, Movie, or a Special (Original Dramatic Score): Javier Navarrete for Hemingway & Gellhorn
Outstanding Original Music and Lyrics: Adam Schlesinger, David Javerbaum for the 65th Annual Tony Awards ("It's Not Just for Gays Anymore")
Outstanding Art Direction for a Multi-Camera Series: Glenda Rovello, Amy Feldman for 2 Broke Girls ("And The Rich People Problems", "And The Reality Check", And The Pop Up Sale")
Outstanding Art Direction for Variety or Nonfiction Programming: Brian Stonestreet, Alana Billingsley, Matt Steinbrenner for The 54th Annual Grammy Awards, and Steve Bass, Seth Easter for The 65th Annual Tony Awards
Outstanding Art Direction for a Miniseries or Movie: David Roger, Paul Ghirardani, Jo Kornstein for Great Expectations
Outstanding Art Direction for a Single-Camera Series: Bill Groom, Adam Scher, Carol Silverman for Boardwalk Empire, and Gemma Jackson, Frank Walsh, Tina Jones for Game of Thrones
Outstanding Single-Camera Picture Editing for a Drama Series: Jordan Goldman, David Latham for Homeland
Outstanding Single-Camera Picture Editing for a Comedy Series: Steven A. Rasch for Curb Your Enthusiasm ("Palestinian Chicken")
Outstanding Multi-Camera Picture Editing for a Comedy Series: Sue Federman for How I Met Your Mother ("Trilogy Time")
Outstanding Single-Camera Picture Editing for a Miniseries or a Movie: Don Cassidy for Hatfields & McCoys - Part 2
Outstanding Picture Editing for Short-Form Segments and Variety Specials: Bill DeRonde, Chris Lovett, Mark Stepp, Pi Ware, John Zimmer, Ben Folts for 2012 Rock and Roll Hall of Fame Induction Ceremony
Outstanding Picture Editing for Nonfiction Programming: Andy Netley, Sharon Gillooly for Frozen Planet ("Ends of the Earth")
Outstanding Picture Editing for Reality Programming: Josh Earl, Alex Durham for Deadliest Catch ("I Don't Wanna Die")
Outstanding Animated Program: Bob Schooley, Mark McCorkle, Bret Haaland, Nick Filippi, Chris Neuhahn, Ant Ward, Andrew Heubner, David Knott, Shaun Cashman, Steve Loter, Christo Stamboliev for The Penguins of Madagascar: The Return of the Revenge of Dr. Blowhole
Outstanding Short-Format Animated Program: Brian A. Miller, Jennifer Pelphrey, Curtis Lelash, Rob Sorcher, JG Quintel, Mike Roth, Janet Dimon, Matt Price, Jack Thomas, John Infantino, Robert Alvarez for Regular Show ("Eggscellent")
Outstanding Voice-Over Performance: Maurice LaMarche for Futurama
Syd Cassyd Founders Award: Dick Askin
Governors Award: Dan Savage, Terry Miller for "It Gets Better"
Outstanding Special Visual Effects: Rainer Gombos, Juri Stanossek, Sven Martin, Steve Kullback, Jan Fielder, Chris Stenner, Tobias Mannewitz, Thilo Ewers, Adam Chazen for Game of Thrones ("Valar Morghulis")
Outstanding Special Visual Effects in a Supporting Role: Dave Taritero, Robert Stromberg, Richard Friedlander, Eran Dinur, David W. Reynolds, Matthew Conner, Austin Meyers, Jonathan Dorfman, Steve Kirshoff for Boardwalk Empire ("Georgia Peaches")
Outstanding Stunt Coordination: Peewee Piemonte for Southland
Outstanding Main Title Design: Nic Benns, Rodi Kaya, Tom Bromwich for Great Expectations
Outstanding Original Main Title Theme Music: Paul Englishby for Page Eight
Outstanding Commercial: "Best Job" (Procter & Gamble Corporate Brand) – Wieden + Kennedy, Ad Agency; Anonymous Content, Production Company
Outstanding Sound Mixing For Nonfiction Programming: Tom Paul for Paul Simon’s Graceland Journey: Under African Skies
Outstanding Sound Mixing for a Comedy or Drama Series (One Hour): Matthew Waters, Onnalee Blank, Ronan Hill, Mervyn Moore for Game Of Thrones ("Blackwater")
Outstanding Sound Mixing for a Miniseries or a Movie: Stanomir Dragos, Christian Cooke, Brad Zoern for Hatfields & McCoys — Part 1
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation: Stephen A. Tibbo, Dean Okrand, Brian R. Harman for Modern Family ("Dude Ranch")
Outstanding Sound Mixing for a Variety Series or Special: Paul Sandweiss, Tommy Vicari, Pablo Munguia, Kristian Pedregon for 84th Annual Academy Awards
Outstanding Sound Editing for a Miniseries, Movie, or a Special: Douglas Murray, Peter Horner, Kim Foscato, Steve Boeddeker, Casey Langfelder, Andrea Gard, Pat Jackson, Daniel Laurie, Goro Koyama, Andy Malcolm, Joanie Diener for Hemingway & Gellhorn
Outstanding Sound Editing for Nonfiction Programming (Single or Multi-Camera): Kate Hopkins, Tim Owens, Paul Fisher for Frozen Planet — Ends of the Earth
Outstanding Sound Editing For a Series: Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson, Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit, David Klotz for Game of Thrones ("Blackwater")
Outstanding Cinematography for a Multi-Camera Series: Steven V. Silver for Two and a Half Men ("Sips, Sonnets, and Sodomy")
Outstanding Cinematography for a Single-Camera Series: Jonathan Freeman for Boardwalk Empire ("21")
Outstanding Cinematography for a Miniseries or Movie: Florian Hoffmeister for Great Expectations
Outstanding Cinematography for Reality Programming: The Deadliest Catch team ("I Don't Want To Die")
Outstanding Cinematography for Nonfiction Programming: The Frozen Planet team ("Ends of the Earth")
Outstanding Technical Direction, Camerawork, Video Control for a Series: Steven Cimino, John Pinto, Paul J. Cangialosi, Len Weschler, Barry Frischer, Eric A. Einstein, Susan Noll, Frank Grisanti for Saturday Night Live (Host Mick Jagger)
Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie or Special: Steven Cimino, Paul J. Cangialosi, John Pinto, Chuck Goslin, Barry Frischer, Jeff Latonero, Len Weschler, Susan Noll, J.M. Hurley for Memphis (Great Performances)
Outstanding Lighting Design/Lighting Direction for a Variety Series: Robert Barnhart, Matt Firestone, Pete Radice, Patrick Boozer for So You Think You Can Dance (Season Eight Finale)
Outstanding Lighting Design/Lighting Direction for a Variety Special: Robert A. Dickinson, Jon Kusner, Travis Hagenbuch, Andy O'Reilly for The 54th Annual Grammy Awards
Outstanding Guest Actor in a Comedy Series: Jimmy Fallon for Saturday Night Live
Outstanding Directing for Nonfiction Programming: Martin Scorsese for George Harrison: Living in the Material World
Outstanding Writing for Nonfiction Programming: Geoffrey C. Ward for Prohibition — A Nation of Hypocrites
Exceptional Merit in Documentary Filmmaking: Connie Field, Lois Vossen, Sally Jo Fifer for Have You Heard From Johannesburg (Independent Lens)
Outstanding Nonfiction Special: Margaret Bodde, Emma Tillinger Koskoff, Blair Foster, Olivia Harrison, Nigel Sinclair, Martin Scorsese for George Harrison: Living in the Material World
Outstanding Nonfiction Series: Alastair Fothergill, Susan Winslow, Vanessa Berlowitz for Frozen Planet
Outstanding Directing for a Variety Series: Don Roy King for Saturday Night Live (Host Mick Jagger)
Outstanding Writing for a Variety Series: Tim Carvell, Rory Albanese, Kevin Bleyer, Rich Blomquist, Steve Bodow, Wyatt Cenac, Hallie Haglund, JR Havlan, Elliott Kalan, Dan McCoy, Jo Miller, John Oliver, Zhubin Parang, Daniel Radosh, Jason Ross, Jon Stewart for The Daily Show With Jon Stewart
Outstanding Variety Special: George Stevens, Jr., Michael M. Stevens for The Kennedy Center Honors
Outstanding Special Class Programs: Ricky Kirshner, Glenn Weiss, Neil Patrick Harris for 65th Annual Tony Awards
Outstanding Special Class: Short-Format Live-Action Entertainment Programs: Rob Corddry, Jonathan Stern, David Wain, Keith Crofford, Nick Weidenfeld, Rich Rosenthal for Children's Hospital
Outstanding Special-Class: Short-Format Nonfiction Programs: Michael M. Stevens for DGA Moments In Time
Outstanding Creative Achievement in Interactive Media — Enhancement to a Television Program or Series: John Wooden, Aaron Bleyaert, Conan O'Brien, Timothy Campbell for The Team Coco Sync App
Outstanding Creative Achievement in Interactive Media — Original Interactive Television Programming: Fourth Wall Studios for Dirty Work
Outstanding Children's Program: Ben Montanio, Vince Cheung, Todd J. Greenwald, Gigi McCreery, Perry Rein, Richard Goodman, Greg A. Hampson for Wizards of Waverly Place
Outstanding Children's Nonfiction, Reality or Reality-Competition Program: Carol-lynn Parente, Melissa Dino, Mason Rather, Kevin Clash for Sesame Street: Growing Hope Against Hunger
Outstanding Reality Program: Eli Holzman, Stephen Lambert, Chris Carlson, Scott Cooper, Sandi Johnson, Rachelle Mendez, Lety Quintanar, Rebekah Fry for Undercover Boss
Outstanding Guest Actress in a Drama Series: Martha Plimpton for The Good Wife
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While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
S5E15: We all have our ways of dealing with breakups. Some of us buy pints of Ben and Jerry’s ice cream (New York Super Fudge Chunk all the way, baby), some of us go through three boxes of tissues while watching Finding Nemo, some of us turn to a few glasses of scotch and a cute bartender but Liz Lemon does the Liz Lemonyist thing possible: she puts her hair in a chip clip, puts on a baggy sweatshirt, starts using a fucking FANNY PACK, and devotes her life to her new cat, Emily Dickinson.
While I’d like to say this was all just a little too cartoonish for my tastes, I can’t because a Liz Lemon cartooney episode isn’t just wacky and zany; it’s still smart under all of its surface funny. That’s exactly what last night’s 30 Rock was: a cartoonish romp anchored by smart, cohesive writing. Solid.
“I had three chances. Floyd, then Carol and I was once in an elevator with Tom Brokaw and I blew all three…opportunities!” –Liz
Now that Carol is out of her life, Liz Lemon is giving up. Now that’s the Liz we all know. She’s decided she’s had her chances and now she’s going to become a spinster – she even buys a cemetery plot and joins a book club for senior citizens. Whoa. I like the fact that they aren’t just ignoring the epic breakup this time around. Liz always seems to bounce back a little too well, and that’s the one complaint I have about her character. Lemon is a heroine for regular women and as such, she should be a fucking depressed wreck when something like this happens – of course, she has to do depressed the Liz Lemon way which is far more hilarious than how the rest of us would choose to deal.
“Also I’ve been taking these new Czechoslovakian organ-slimming pills. They contain a little bit of meth, which is something by body needs anyway.” -Jenna
As any good girlfriend would, Jenna makes Liz get out on the town to help her get past her decision to become a comatose, cat-loving spinster (seriously, she swaps a picture of Carol for a picture of Emily Dickinson, THE CAT). Liz comes up with an excuse about editing and decides not to go out, but when her editing tech gets sick suddenly and has to go home, she’s forced to take Jenna up on her offer. At the club, which is disturbingly catered to her outlandish venue needs, Liz finds that everything falls into place so easily. She meets a hot guy, they talk about the politics of STAR WARS, and then thanks to a bar fight they leave together and hook up. Woo, go Liz Lemon. The funny thing about this part is that a similar ease of post break-up flirtations is something that seems to happen in real life time and again, but this is 30 Rock so of course it’s not that simple.
“What this? I got hit by a bird on a rollercoaster.” –Lutz
Liz finally puts all the pieces together (because she’s been taking solace in old mystery movies now that she’s a spinster) when she sees Jack high-fiving all the writers after they congratulate her on her baby-pink sweatshirted walk of shame. She figures out the intricate way in which the whole plan was actually an elaborate ruse that placed a Swedish prostitute (recommended by Martha Stewart, yuck) in a fake bar with a cheatsheet of Liz’s interests, her previously stolen ID and twinkling eyes into a staged bar fight all so that Liz would hook up with him and feel better about her prospects. This whole unraveling of the plot that worked out far too easily reminded me a bit of How I Met Your Mother, but done in a decidedly 30 Rock fashion and it totally worked. While the TGS staff’s concern for Liz’s happiness reached disturbing levels, it’s something only 30 Rock can get away with and I love when they take advantage of that fact.
“It was nice negotiating with you and here is all of your money.” –Jack
Jack, being the celebrated business wiz that he is, is prepping for a big meeting with the Kabletown execs and he’s bragging about his top-notch negotiating skills. (Cue dig after dig at the new Comcast/NBC merger.) This whole notion gets tossed on its head when Jack tries to negotiate wages with his nanny while Avery is out of town (maternity leave, schmaternity leave). His nanny is rock solid, tearing Jack down and disabling his negotiating abilities. Liz helps him realize that this is because the nanny can hold the love of his daughter and the need for someone to take care of her over his head and that he’ll do anything to keep her there as someone to watch over Liddy. He eventually settles with the fact that he’ll have to pay the nanny more when he’s able to use her negotiating techniques (complete apathy – “So. Whatcha gonna do about it?”) to win his battle with Kabletown because like Liddy, NBC is a helpless baby that needs his care. BLAMMO.
I enjoyed this plot, but I wish they would have been more subtle about it. 30 Rock viewers are smart. We can see that this whole thing is unraveling Jack’s very being without him having to spell it out for us. Alright; complaining is over.
“Rock stars man. People screaming your name. Hot women throwing themselves at you.” –Pete
“Living on a bus.” –Frank
If Pete had to be a former member of any 80s band, it would definitely be Loverboy, so thank you for that, writers. This little side plot was a little silly, having Pete and Frank start a band together and then fall into bickering about song credits, but it was completely enjoyable and it was integral to the Liz fake setup plot (“It’s never too late for now!”). That little bit with Frank’s new girlfriend Yuki who was helping to break up the band was a little obvious (Oh, Yoko) but it was brief enough that it worked.
And now, a little more from Pete and Frank, a.k.a. SOUNDBOARD. (You’ve gotta love that terrible name.)
The big, bad and seemingly unavoidable Screen Actors Guild strike is still almost a year away, but the studios and filmmakers in Tinseltown are already scrambling to get their stars under contract, shoot their films and fold their tents before picketing begins next summer.
According to today's Hollywood Reporter, several big productions are scrambling to get under way, including Steven Soderbergh's star-studded remake of "Ocean's Eleven," and Russell Crowe's recent shoulder injury probably means that Jodie Foster's next directorial effort will get shelved.
In the case of "Ocean's," the trade says, it appears that stars George Clooney, Julia Roberts and Brad Pitt (who, ostensibly, would take roles originally done by Frank Sinatra, Angie Dickinson and Dean Martin) are locked in, but Mark Wahlberg may have to duck out because of a conflict with the shooting schedule for Tim Burton's "Planet of the Apes" remake.
Because of the strike, there's no room for shuffling shooting schedules. So, Matt Damon might step in for Wahlberg -- provided that Damon's work on "The Bourne Identity" isn't affected?
Confused? Well, there's more. Bruce Willis may also have to skip "Ocean's Eleven," and his role reportedly has already been offered to Ewan McGregor. And brothers Owen and Luke Wilson may have to pass, too, because of their commitment to star in Wes Anderson's "The Royal Tenenbaums." Instead, their parts might be taken by director-brothers Joel and Ethan Coen.
OK, now catch your breath.
"The Royal Tenenbaums" (which, by the way, is a comedy about a family of geniuses) has tentative commitments from the likes of Gwyneth Paltrow, Danny Glover, Ben Stiller and Gene Hackman. But if Paltrow takes the role, it could spell casting trouble for the producers of "The Hours," who have offered Paltrow the lead.
Then there's the matter of "Flora Plum," a boutique film to be helmed by Foster, and which was scheduled to go before the camera in several weeks. Crowe's injury will prevent him from performing the role (which requires physical stunts of some type, apparently), thus pushing it closer to the strike deadline, meaning the film might just get canned altogether.