Nike release To the near future footwear!

Nike have really, non-hoaxingly, put in production Marty McFly's self-lacing footwear from To the near future II! After tease Tweets from producer Frank Marshall earlier within the week, Nike Boss Mike Parker officialy revealed the environment Mag footwear together with this news that the limited run of 1500 is going to be sold on the 10-day period on the devoted eBay site, with all of internet proceeds visiting the Michael J. Fox foundation.Fox stated, "This project is exciting in my experience since it includes three very passionate audiences: The Parkinson's community, the sneakerheads and also the To the near future fans."The footwear have showed up a couple of years sooner than the date Marty picks them up within the films (October 21st 2015) but we are not worrying.Hoverboards now, please!Are you dealing with another excited bidders to obtain a set of these bad boys? The other movies uses imaginary devices that you want you can own? Tell us within the comments below!

Movie Lit Agent Jumping To ICM From UTA

EXCLUSIVE: Film literary agent Doug Manley is predicted to participate ICM from UTA now. To date, a lot of the movement remains from ICM to UTA. Manley’s client list includes Vanessa Taylor (co-executive producer of Cinemax’s Wager On Thrones and author from the new the new sony’s approaching Great Hope Springs with Meryl Streep), director Frank Coraci (The Wedding Singer, Zookeeper), multi-hyphenate Nick Cannon, author Jordan Cahan (My Nearest Friend’s Girl) who recently offered an plane pilot to NBC, film author Michael Gordon (300), and author Steve Leff.

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Ask an Adult-Film Superstar: Joanna Angel Guest Reviews Bucky Larson: Born to Be a Star

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Postcard from Venice: Soderbergh's Contagion - Catch the Fever! But Try Chicken with Plums at Your Own Risk

After the freshness and deceptive simplicity of their debut, the 2007 animated feature Persepolis, Marjane Satrapi and Vincent Paronnaud’s Poulet aux Prunes — or Chicken with Plums — showing in competition here, is something of a disappointment. The cast isn’t the problem: The movie stars Mathieu Amalric as an embittered musician living in late-1950s Tehran, and Maria de Medeiros as his beleaguered but adoring wife; Chiara Mastroianni has a tiny part, and the fine Moroccan-born actor Jamel Debbouze appears in small dual roles. But the material just doesn’t resonate, as Persepolis did. Persepolis was based on Satrapi’s marvelous graphic memoir of growing up in Iran at the time of the Islamic Revolution, a straightforward, bracing and funny piece of work that lent itself beautifully to the elegance of black-and-white animation. Chicken with Plums is a live-action film (based on another of Satrapi’s graphic novels from 2004), and Satrapi and Paronnaud aren’t as surefooted with this medium. But more significantly, neither the story nor the characters give us enough to hold onto. They’re storybook figures rather than people we can really come to care about, and in some cases, their behavior is so bad that it’s hard to feel much sympathy for them at all. Amalric plays Nasser-Ali, a formerly great violinist who no longer has the will to play, partly because he can’t find the right instrument. But the greater issue, we learn, is that years ago he lost the love of his life, a woman named, quite symbolically, Irne. Now he’s married to Medeiros’s Faranguisse, who has borne him two children and who cares for him deeply. But after suffering years of verbal abuse and neglect, even she has reached the end of her rope. Chicken with Plums takes place in the eight days before Nasser-Ali’s death, and tells the story of his rather miserable life. Some of his suffering you can buy — this is Mathieu Amalric we’re talking about, an actor who, particularly in the movies made by Arnaud Desplechin, has shown a knack for playing flawed, troubled, jittery characters that are nevertheless easy to connect with. But Nassir-Ali comes off mostly as a spoiled, bitter complainer — and, as his wife reminds him, he does moon around the house all day while she has to go out to work and take care of the family. Lost love or no, Nassir-Ali has simply never made a go at life. What’s more, the filmmaking here is stylized and aggressively whimsical, reminiscent of the filmmaking of Jean-Pierre Jeunet (director of the wonderful A Very Long Engagement and the far less wonderful Amelie). There’s some too-cute magic realism going on here, as when Nassir-Ali dreams of Sophia Loren and we see a giant pair of brassiere-clad breasts moving toward him, just inviting him to bury his face in there. There’s a faint air of melancholy hovering over Chicken with Plums, and while that aura shouldn’t be heavier, it could be better defined. The metaphor embedded in the story — the idea of one’s home country as a lost lady love — is a basic and potentially potent one. Does it really need to be cutesified? Stephen Soderbergh’s epidemic thriller Contagion, showing out of competition here at the festival, is a forthright, effective piece of filmmaking, even if it’s front-loaded so that most of its power (and its horror) is clustered in the first third. I won’t go into too much detail here, as my colleague Alison Wilmore will be here with a full review when the movie opens next week. But I will say that I was surprised by how eerily suspenseful the picture is, beginning with its image of a sniffly, sickly-looking Gwyneth Paltrow, en route to her home in Minneapolis after a business trip to Hong Kong — she looks like she’s got something that she won’t be able to kick with a few doses of DayQuil, and boy, does that turn out to be the case. Soderbergh has assembled a cast of biggies here, including Marion Cotillard, Kate Winslet, Jude Law and Matt Damon (who has a moment early in the picture that’s off the charts, an expression of grief so elemental that it nearly derails the movie). But Soderbergh also does well by some other terrific actors who haven’t had any major roles of late, including Jennifer Ehle as a take-charge researcher and Elliott Gould in a small but heroic turn. Gould got the biggest laugh I’ve heard at the festival this year, when he shoos away a semi-crackpot blogger played by Law: “Blogging isn’t writing,” he says. “It’s graffiti with punctuation.” That line was tailor-made for an audience of old-school professional journalists and critics — many of whom, out of necessity, blog for their outlets as well. We’re wrestling with our own epidemic, but at least we can laugh about it. Read more of Stephanie Zacharek’s 2011 Venice Film Festival coverage here.

Nick Nolte Recruited For Gangster Squad

As the chief of policeBecause it's been far too long since we wrote something about Warner Bros' Gangster Squad - a couple of weeks, at least! - director Ruben Fleischer has decided to feed our obsession by hiring Nick Nolte to join the cast even as he begins final preparations to start shooting. Nolte is one of the few big puzzle pieces left to slot in, signing on play Bill Parker, the new chief of police for Los Angeles, who arrives driven by the idea that the 1950's cop shop needs some honest officers. Specifically, a crack team dedicated to stemming the tide of organized crime represented by the likes of mobster and inveterate gambler Mickey Cohen (Sean Penn). So Parker, a World War Two veteran, sets about working with Josh Brolin's John O'Mara to make it happen. As you may already know, Ryan Gosling will be one of the other prime components, with Giovanni Ribisi, Anthony Mackie, Robert Patrick and Holt McCallany also on the team. Mireille Enos has been cast as Brolin's wife and Emma Stone will be a young woman who catches the eye of both Penn and Gosling. For his part, Nolte is enjoying something of a mini resurgence right now, between roles in Warrior and Parker already complete and his getting ready to work with Robert Redford in The Company You Keep. And that's without mentioning David Milch and Michael Mann's HBO horse racing drama Luck...

Moving from Musical to Nonmusical Roles

Moving from Musical to Nonmusical Roles By Les Spindle August 24, 2011 Photo by Ed Krieger "The Full Monty" Michelle Duffy cut her performing teeth as a rock singer and subsequently forged a successful acting career dominated by nonmusical roles. But during the past few years, she has been cast primarily in musicals, which she finds somewhat restrictive to her creative fulfillment and career goals. John Bisom, who got his first taste of the industry as a child extra on "Little House on the Prairie," had no singing or dancing training when he happened upon a career in musical theater. Both performers work hard to transition between musicals and nonmusicals, when given the opportunities. That 'Musical Woman' Duffy, born and raised in Wheeling, W.V., had been singing since she was a baby. She began studying piano and flute and went to choir camp as a child. In junior high, she took her first acting class, and her college degree program was musical theater. In high school and college, she supported herself with singing jobs. But as she says, "My bread and butter was singing, but my passion has always been acting." She says her early fascination with collecting every cast album gradually faded, except for Sondheim shows.Duffy received her Actors' Equity card after appearing in a play in Pittsburgh. She then moved to Chicago, where her first play was "My Children! My Africa!" She came to California in 1995, and in 1996 became a member of Burbank's Colony Theatre, where she did plays ("Our Country's Good") and musicals ("Putting It Together"). She says she loves playing Tennessee Williams' "terrific women's roles," such as Stella in "A Streetcar Named Desire," which she performed in San Francisco.But beginning in 2006, with La Mirada Theatre's "Johnny Guitar," Duffy fell into a cycle in which one musical seemed to lead to another. "I suddenly became this sort of musical woman," she says with a laugh. Cementing her in this new direction was her portrayal of the lead character of Pistache in director David Lee's revamp of Cole Porter's classic "Can-Can" at the Pasadena Playhouse in 2007. After that, prominent local groupsMusical Theatre West, Civic Light Opera of South Bay Cities, and otherscontinued enlisting her services as a musical star. She returned to Pasadena Playhouse in 2008 for what she considered a particularly rewarding musical role: the biker mom Rusty in the stage adaptation of "Mask."Duffy began to realize that this string of tuners made it nearly impossible for her to get cast in plays anymore. She feels strongly that there is a bias against musical performers, and that once an actor is cast in that mold, it's difficult to get called in for nonmusical roles. Could some of it be attributed to artistic snobbery? "Oh, my God, yes," she replies. "It's not just from John Q. Public. I know many actors who don't like musicals. They will say that it's ridiculous to break into song walking down the street. They also think of musicals as not real acting." When this attitude exists in the casting community, it can be extremely limiting for performers like Duffy. "It's sort of like your legitimacy gets taken away from you," she says. She notes that much of this has to do with the general trend toward very specific typecasting, as actors are instantly thought of in a certain range, particularly for TV and film roles. "It's almost a detriment to be too versatile," she observes.Steven Glaudini, who has successfully worn many hats in the industryactor-singer-dancer, producer, director, theatrical agent (for Kazarian/Spencer/Ruskin & Associates), and artistic director (originally for Performance Riverside and currently for Musical Theatre West)considers Duffy a prime casting candidate for diverse roles. In fact, Glaudini was her agent when her string of musical roles began here. He recalls her as saying, "Hell has frozen over! I've booked a musical in L.A." He also agrees with Duffy that convincing some of those who cast to break down their stubborn bias against musical actors is an ongoing challenge.In Duffy's view, the ideal career is one in which an actor is able to do it all. "Doing many different kinds of projects helps keep me creative," she says. Fortunately, she is newly cast in Steven Dietz's play "Shooting Star," opening in mid-September at the Colony Theatre. Crooning for His Supper Bisom recently enjoyed his first job in a road production, playing Sam in the North American tour of "Mamma Mia!" Over the years, he has occasionally played nonmusical roles on television, did a voiceover role in the first "Shrek" film, and has been cast in nonmusical plays such as "As You Like It" and "After the Fall."Born and raised in Long Beach, Calif., Bisom has consistently received critical praise for his performances in Southern California musicals, appearing with virtually every musical company in the L.A. vicinity, such as Musical Theatre West and FCLO Music Theatre. He has also done regional work, as with the Sacramento Music Circus and Music Theatre of Wichita.Bisom says, "I completely stumbled into musicals. I had studied to be an actor at Long Beach City College and did plays there. Then about 1983, someone came to me and asked me to audition for a musical, and that's when I found out that I could sing." From there, the musical roles kept coming. Following those early breaks, Bisom took vocal and dance lessons, and he still gets brush-up vocal coaching, though he says most of his training has been on the job: "I met a lot of people who were willing to put me through some paces, and even teach me a little tap."Bisom adds, "I always thought of myself as an actor, and I still approach any role in musicals as an actor first. Fortunately, I have the ability to sing. Musicals are challenging. Exposing yourself out there by suddenly breaking into song isn't an easy thing to do. You're very vulnerable in a way." He believes the most successful nonsinging performers who pull off musicals are those confident enough to approach the role as an actor: "They might not have the best singing voice in the world, but they are able to carry it through the song, and you believe them."Glaudini thinks that in the current economy, actors who have musical skills as well as acting talent are sometimes wise to accept musical roles in favor of dramatic parts. As an example, he cites his wife, actor-dancer-singer Bets Malone, who a few years ago was delighted to be cast in a play at Milwaukee Repertory Theater but had to turn down the offer to accept a more lucrative job in the epic musical "The Ten Commandments." He says, "It would be great if we could all just live artistically and do what feeds our artistic souls, but you have to pay the bills."Bisom has hopes for the future. "I've always wanted to [play Atticus Finch in] 'To Kill a Mockingbird,' " he says. "That's one of my favorite characters and favorite books. And I'm finally getting to the age when I can do it." Moving from Musical to Nonmusical Roles By Les Spindle August 24, 2011 "The Full Monty" PHOTO CREDIT Ed Krieger Michelle Duffy cut her performing teeth as a rock singer and subsequently forged a successful acting career dominated by nonmusical roles. But during the past few years, she has been cast primarily in musicals, which she finds somewhat restrictive to her creative fulfillment and career goals. John Bisom, who got his first taste of the industry as a child extra on "Little House on the Prairie," had no singing or dancing training when he happened upon a career in musical theater. Both performers work hard to transition between musicals and nonmusicals, when given the opportunities. That 'Musical Woman' Duffy, born and raised in Wheeling, W.V., had been singing since she was a baby. She began studying piano and flute and went to choir camp as a child. In junior high, she took her first acting class, and her college degree program was musical theater. In high school and college, she supported herself with singing jobs. But as she says, "My bread and butter was singing, but my passion has always been acting." She says her early fascination with collecting every cast album gradually faded, except for Sondheim shows.Duffy received her Actors' Equity card after appearing in a play in Pittsburgh. She then moved to Chicago, where her first play was "My Children! My Africa!" She came to California in 1995, and in 1996 became a member of Burbank's Colony Theatre, where she did plays ("Our Country's Good") and musicals ("Putting It Together"). She says she loves playing Tennessee Williams' "terrific women's roles," such as Stella in "A Streetcar Named Desire," which she performed in San Francisco.But beginning in 2006, with La Mirada Theatre's "Johnny Guitar," Duffy fell into a cycle in which one musical seemed to lead to another. "I suddenly became this sort of musical woman," she says with a laugh. Cementing her in this new direction was her portrayal of the lead character of Pistache in director David Lee's revamp of Cole Porter's classic "Can-Can" at the Pasadena Playhouse in 2007. After that, prominent local groupsMusical Theatre West, Civic Light Opera of South Bay Cities, and otherscontinued enlisting her services as a musical star. She returned to Pasadena Playhouse in 2008 for what she considered a particularly rewarding musical role: the biker mom Rusty in the stage adaptation of "Mask."Duffy began to realize that this string of tuners made it nearly impossible for her to get cast in plays anymore. She feels strongly that there is a bias against musical performers, and that once an actor is cast in that mold, it's difficult to get called in for nonmusical roles. Could some of it be attributed to artistic snobbery? "Oh, my God, yes," she replies. "It's not just from John Q. Public. I know many actors who don't like musicals. They will say that it's ridiculous to break into song walking down the street. They also think of musicals as not real acting." When this attitude exists in the casting community, it can be extremely limiting for performers like Duffy. "It's sort of like your legitimacy gets taken away from you," she says. She notes that much of this has to do with the general trend toward very specific typecasting, as actors are instantly thought of in a certain range, particularly for TV and film roles. "It's almost a detriment to be too versatile," she observes.Steven Glaudini, who has successfully worn many hats in the industryactor-singer-dancer, producer, director, theatrical agent (for Kazarian/Spencer/Ruskin & Associates), and artistic director (originally for Performance Riverside and currently for Musical Theatre West)considers Duffy a prime casting candidate for diverse roles. In fact, Glaudini was her agent when her string of musical roles began here. He recalls her as saying, "Hell has frozen over! I've booked a musical in L.A." He also agrees with Duffy that convincing some of those who cast to break down their stubborn bias against musical actors is an ongoing challenge.In Duffy's view, the ideal career is one in which an actor is able to do it all. "Doing many different kinds of projects helps keep me creative," she says. Fortunately, she is newly cast in Steven Dietz's play "Shooting Star," opening in mid-September at the Colony Theatre. Crooning for His Supper Bisom recently enjoyed his first job in a road production, playing Sam in the North American tour of "Mamma Mia!" Over the years, he has occasionally played nonmusical roles on television, did a voiceover role in the first "Shrek" film, and has been cast in nonmusical plays such as "As You Like It" and "After the Fall."Born and raised in Long Beach, Calif., Bisom has consistently received critical praise for his performances in Southern California musicals, appearing with virtually every musical company in the L.A. vicinity, such as Musical Theatre West and FCLO Music Theatre. He has also done regional work, as with the Sacramento Music Circus and Music Theatre of Wichita.Bisom says, "I completely stumbled into musicals. I had studied to be an actor at Long Beach City College and did plays there. Then about 1983, someone came to me and asked me to audition for a musical, and that's when I found out that I could sing." From there, the musical roles kept coming. Following those early breaks, Bisom took vocal and dance lessons, and he still gets brush-up vocal coaching, though he says most of his training has been on the job: "I met a lot of people who were willing to put me through some paces, and even teach me a little tap."Bisom adds, "I always thought of myself as an actor, and I still approach any role in musicals as an actor first. Fortunately, I have the ability to sing. Musicals are challenging. Exposing yourself out there by suddenly breaking into song isn't an easy thing to do. You're very vulnerable in a way." He believes the most successful nonsinging performers who pull off musicals are those confident enough to approach the role as an actor: "They might not have the best singing voice in the world, but they are able to carry it through the song, and you believe them."Glaudini thinks that in the current economy, actors who have musical skills as well as acting talent are sometimes wise to accept musical roles in favor of dramatic parts. As an example, he cites his wife, actor-dancer-singer Bets Malone, who a few years ago was delighted to be cast in a play at Milwaukee Repertory Theater but had to turn down the offer to accept a more lucrative job in the epic musical "The Ten Commandments." He says, "It would be great if we could all just live artistically and do what feeds our artistic souls, but you have to pay the bills."Bisom has hopes for the future. "I've always wanted to [play Atticus Finch in] 'To Kill a Mockingbird,' " he says. "That's one of my favorite characters and favorite books. And I'm finally getting to the age when I can do it."

'Paris' rules niche biz

The leggy "Night time in Paris" has gained a wider re-release. Christopher Plummer stars in Mike Mills' "Beginners," the very best B.O. artist one of the mid-summer time niche releases. "The Guard" In the niche B.O. this summer time, there is Woodsy Allen -- and precious very little else.Allen's "Night time in Paris" and Terrence Malick's "The Tree of Existence" got the summer time niche biz on a sparkling start because of extended runs both in arthouses and commercial plexes. However for distribs moving out photos purchased at Sundance along with other fests, it had been difficult to bust out in the B.O. this summer time, as "Night time" and "Tree" paid for for roughly 71% of niche earnings in the summer's top ten indie game titles."Individuals are really searching for an alternative choice to the summer's mainstream films," stated Michael Barker, co-prexy of The new sony Pictures Classics, which launched "Night time" Stateside on May 20.A lot more than 20 films out of this year's Sundance have bowed since May, with three more ("Our Idiot Brother," "Greater Ground" and "Circumstance") starting Friday. From the Sundance films already launched, only six have cumed a lot more than $a million.Starting fest pick-ups in summer time can risk crowding together the niche area. "Summer time, really, may be the earliest time to choose a Sundance pic, which means you finish up with many different movies from Sundance in June, This summer and August," stated Kerbside Points of interest prexy Howard Cohen.Remarkably, a few of the summer's top game titles were documentaries, including Sundance Selects' "Cave of Forgotten Dreams" and "Buck." Producers Distribution Agency's "Senna" opened up using the year's greatest per-screen average for any docu at $36,748. Werner Herzog's "Forgotten Dreams" has cumed $5.two million (it is the rare niche release to reap three dimensional premium prices), while domestic totals for equine whisperer docu "Buck" stand at $3.7 million.Commercial paperwork scoreSummer berths have demonstrated effective for paperwork with increased commercial appeal -- last summer time, "Babies," "Joan Rivers: A bit of Work" and "Restrepo" all clicked on in the summer time B.O.Which summer time, two more nonfiction photos also arrived one of the top 20 indies: The new sony Classics' "Beats, Rhymes and Existence: The Travels of the Tribe Known as Mission" and Magnolia Pictures' "The First Page: Within the New You are able to Occasions," each of which cumed around $a million. But one of the greater-profile docus that did not work, Roadside's Sundance buy "Project Nim" has cumed just $334,452 since starting on This summer 8.Barker cautions the doc onslaught makes it hard for individuals films to achieve followers. There have been 39 launched this summer time versus. 40 within the summer time of 2010 and 34 last year.InchYou will find a lot of documentaries opening from week to week that when you are getting in front of the pack, there's reached be something very distinctive concerning the film," Barker stated.For narrative features, Focus Features' Ewan McGregor-Christopher Plummer starrer "Beginners," with $5.six million since its release on June 3, makes probably the most associated with a mid-summer time niche release -- but nonetheless nowhere close to the total for "Night time," which entered $50 million locally, as well as "Tree of Existence" at $12.7 million.The Weinstein Co.'s Holocaust drama "Sarah's Key" has performed remarkably well following a film's This summer 22 bow, with only north of $3 million. TWC released "Sarah's Key" to some solid $23,142 per-screen average from five locations, then broadened the pic in the second weekend to 33 playdates having a perky per-screen average of $11,112.Michael Winterbottom's "The Trip" from IFC falls between nonfiction and narrative, and stellar reviews assisted the British made-for-TV pic cume a sturdy $1.8 million. (See separate story.)Irish cop comedy "The Guard," which The new sony Classics released on This summer 29, has totaled a decent $1.two million in only four days. The film continues to be carrying out extremely well in Boston, but metropolitan areas in Texas like Houston, Dallas and Austin are also notable strongholds for "The Guard."Some fest faves founderHowever, other fest faves including Sundance records "The Near FutureInch and "Another Earth," from Fox Searchlight, and Sony's SXSW pickup "Attack the Block" (with $616,000) have battled to locate an aud outdoors New You are able to or L.A.Miranda July's "The Near Future,Inch which Kerbside Points of interest acquired at Sundance, released exactly the same weekend as "The Guard" but has totalled only $333,997. July's sophomore directorial outing might have been too offbeat for many auds (pic includes a speaking cat)."I actually do think it's harder let's focus on a particular type of independent film," Cohen accepted, before rhetorically asking, "Has got the commercialization of independent cinema precluded independent cinema?"Searchlight spent around $two million for British-speaking territory privileges to "Another Earth" at Sundance. The complicated mixture of sci-fi and romance bowed This summer 22 and it has yet to hack $a million. In comparison, Searchlight's "Tree," which perhaps were built with a tougher plotline (but additionally had Kaira Pitt and Malick), arrived at $1.25 million after its second weekend.Searchlight ought to luck using the This summer discharge of Wayne Wang's "Snow Flower and also the Secret Fan," with $1.3 million."For those who have a brand new movie and also the stars are aligned, then you definitely often prosper,Inch Barker stated. "Still, that does not remove how hard it may be for more compact films." Contact Andrew Stewart at andrew.stewart@variety.com