The Jaunty Tone of Vicky Cristina Barcelona

The jaunty tone of Vicky Cristina Barcelona is set by Giulia y Los Tellarini's catchy song "Barcelona," which plays often in the film. The tune found its way to Allen serendipitously. "People send me music all the time, but I rarely get a chance to listen to anything. One morning, as I was running out to go to the set, I grabbed it without even opening it and listened to it in the car on the way to the location. And I said, 'Hey, this is great! This is exactly what I want for the movie!' And it worked out well for everyone. They were grateful we were using their music, and my producer was happy that we weren't using something that would cost a lot of money like a George Gershwin song!"

All the shooting took place in Barcelona, the capital of Catalonia and Spain's second largest city, on the Spanish east coast of the Mediterranean, as well as in Oviedo and Avilés, two cities in the Principality of Asturius on the north coast (approximately 400 miles away). The Barcelona locations are a virtual postcard of the city, notably the fantastically intricate architecture of Antoni Gaudí, including his famous Sagrada Familía, Parc Güell, and La Pedrera. One particularly memorable moment in the film is when Javier Bardem and Rebecca Hall play out an entire scene from opposite sides of a mosaic lizard fountain in the Parc Güell. "We had to tamp down the amount of water flowing out of the lizard's mouth," says Allen. "You couldn't hear the dialogue!"

Other notable Barcelona sites include the Tibidabo Amusement Park, Hospital de Saint Pau, Fundació Joan Míro (The Míro Museum), Museu Nacional d'Art Catalunya, Port Olímpic, the Barcelona Airport (with its Míro wall mural), and La Rambla. "Barcelona has all the elements of a great European city in terms of beautiful architecture, but there's also something underneath the surface that is quite anarchic," says Hall. "The moment I got there I was staying up much later and going out and partying much more than I ever do anywhere else (on weekends, not work days, let it be known!). It's got a really strong spirit as a city and the people there are very proud of it-they like to define themselves as outside of Spain. It stands on its own with its unique culture and identity."

Gaudí's fervid architecture is a constant touchstone for the movie. His life's work, the spellbinding Sagrada Familía church, is one of the most celebrated unfinished works in art, and as such, is a supremely romantic building. It echoes Maria Elena's belief that only unfulfilled love is truly romantic.

"Denis de Rougemont wrote that once love is fulfilled, it's never romantic again," says Allen. "I think it can then have other qualities that lead one to a wonderful life, but it never has that romance." "I think there are many different kinds of 'romantic,'" says Johansson. "There's a romance that's very seductive and part of the kind of mating game, and then there's a deep romance of people who have been together for thirty years and still surprise one another, and are still learning about each other. I think that's terribly romantic."

"I think the film shows many kinds of love," says Johansson, "whether it's Maria Elena and Juan Antonio having this interminable, impossible sort of love or whether it's the love that Cristina has for Maria Elena and Juan Antonio, a sort of infatuation and an artistic expression of love. And Vicky's feelings for Juan Antonio are a very obsessive, fanatical kind of love. I think the film shows that all kinds of love are valid." "I think there are different aspects of love," says Bardem. "Love is as different as the people who feel it. I'd say I guess the movie wants to show some of those relationships with love in different people, different minds."

Allen thinks that VICKY CRISTINA BARCELONA may say things about love that even he isn't aware of. "I have no profound things to say about love but by creating live characters, and having them interact, inferences can be made by people" he says. He continues, "there are probably things in the final film that are in spite of what I hoped to say-they may even contradict what I had on my mind, which is not that deep. On the other hand, I did have some points to make. Some things work for some people in some situations. One can't preconceive these things and one has to be more flexible when it comes to love."

Maleficent: Curse upon the newborn infant Aurora

“Maleficent” explores the untold story of Disney’s most iconic villain from the classic “Sleeping Beauty and the elements of her betrayal that ultimately turn her pure heart to stone. Driven by revenge and a fierce desire to protect the moors over which she presides, Maleficent cruelly places an irrevocable curse upon the human king’s newborn infant Aurora.

As the child grows, Aurora is caught in the middle of the seething conflict between the forest kingdom she has grown to love and the human kingdom that holds her legacy. Maleficent realizes that Aurora may hold the key to peace in the land and is forced to take drastic actions that will change both worlds forever.

More information for Maleficent movie

Blended: On vacation in South Africa through safaris, dances, and candlelit dinners.

Blended follows single parents Jim (Adam Sandler) and Lauren (Drew Barrymore) through their horrific first date. But after they part ways, through a number of circumstances, they both find themselves — and their kids — on vacation in Africa. Stuck on a “romantic” getaway, the two families fight their way through safaris, dances, and candlelit dinners.

Blended is an 2014 American romantic comedy film directed by Frank Coraci and written by Ivan Menchell and Clare Sera. The film stars Adam Sandler, Drew Barrymore, Terry Crews, Joel McHale and Wendi McLendon-Covey. It is set to be released on May 23, 2014.

It is the third romantic comedy collaboration between Sandler and Barrymore, following The Wedding Singer and 50 First Dates. Coraci also previously directed Sandler and Barrymore in The Wedding Singer.

Directed by: Frank Coraci
Starring: Adam Sandler, Drew Barrymore, Emma Fuhrmann, Terry Crews, Joel McHale, Wendi McLendon-Covey, Kevin Nealon, Bella Thorne
Screenplay by: Clare Sera, Ivan Menchell
MPAA Rating: None.
Studio: Warner Bros. Pictures
Release Date: May 23, 2014

A Million Ways to Die in the West

Set in Arizona 1882, the film centers on a farmer (Seth MacFarlane, who backs out of a gunfight with an outlaw and watches his girlfriend (Amanda Seyfried) leave him. He goes on to meet the wife of the villionaus outlaw that provides him a chance to redeem himself by giving him shooting lessons. He ends up falling for the woman (Charlize Theron) and gets himself deeper in trouble when the criminal comes back to claim his wife.

A Million Ways to Die in the West is an 2014 American western comedy film produced and directed by Seth MacFarlane and written by MacFarlane, Alec Sulkin, and Wellesley Wild. The film will star MacFarlane himself along with Charlize Theron, Amanda Seyfried, Liam Neeson, Giovanni Ribisi, Sarah Silverman and Neil Patrick Harris. It will be produced by Media Rights Capital and distributed by Universal Pictures. The film is scheduled to be released on May 30, 2014.

Directed by: Seth MacFarlane
Starring: Seth MacFarlane, Charlize Theron, Amanda Seyfried, Liam Neeson, Giovanni Ribisi, Sarah Silverman, Neil Patrick Harris
Screenplay by: Seth MacFarlane, Alec Sulkin, Wellesley Wild
MPAA Rating: None.
Studio: Universal Pictures
Release Date: May 30, 2014

Belle: Ending slavery in England

Belle is inspired by the true story of Dido Elizabeth Belle (Gugu Mbatha-Raw), the illegitimate mixed race daughter of a Royal Navy Admiral. Raised by her aristocratic great-uncle Lord Mansfield (Tom Wilkinson) and his wife (Emily Watson), Belle’s lineage affords her certain privileges, yet the color of her skin prevents her from fully participating in the traditions of her social standing. Left to wonder if she will ever find love, Belle falls for an idealistic young vicar’s son bent on change who, with her help, shapes Lord Mansfield’s role as Lord Chief Justice to end slavery in England.

Directed by: Amma Asante
Starring: Gugu Mbatha-Raw, Lasco Atkins, Susan Brown, Tony Eccles, Tom Felton, Tom Felton
Screenplay by: Misan Sagay
MPAA Rating: None.
Studio: Fox Searchlight Pictures
Release Date: May 2, 2014

The Amazing Spider-Man 2: Confronting a foe far more powerful than himself

We've always known that Spider-Man's most important battle has been within himself: the struggle between the ordinary obligations of Peter Parker and the extraordinary responsibilities of Spider-Man. But in The Amazing Spider-Man 2, Peter Parker finds that a greater conflict lies ahead.

It's great to be Spider-Man (Andrew Garfield). For Peter Parker, there's no feeling quite like swinging between skyscrapers, embracing being the hero, and spending time with Gwen (Emma Stone). But being Spider-Man comes at a price: only Spider-Man can protect his fellow New Yorkers from the formidable villains that threaten the city. With the emergence of Electro (Jamie Foxx), Peter must confront a foe far more powerful than he. And as his old friend, Harry Osborn (Dane DeHaan), returns, Peter comes to realize that all of his enemies have one thing in common: OsCorp.

On February 4, 2013, Marc Webb posted on his Twitter account that principal photography had begun. He also confirmed that the sequel is being shot on 35mm film in the anamorphic format, instead of being filmed digitally as the preceding film was. Sony revealed this would be the first Spider-Man film to be filmed entirely in New York, and the largest film production ever in New York City.

The decision to film in Williamsburg, Brooklyn near the Passover holiday caused some controversy, as critics believed that this was culturally insensitive, and would cause problems with parking. The filming company decided to work with the community and then agreed to adjust its production activities for Passover.

Set photos indicate that the State University of New York Maritime College is being used to represent the Ravencroft Institute in the movie. Rochester is being used to film a car chase scene, because the speed laws are less restrictive in upstate New York. Emma Stone and Andrew Garfield have been seen wearing graduation uniforms, suggesting they will be graduating from high school in the film. On June 25, Webb posted on his Twitter account that filming was completed.

Directed by: Marc Webb
Starring: Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Paul Giamatti, Sally Field, Embeth Davidtz, Felicity Jones, Sarah Gadon
Screenplay by: James Vanderbilt, Alex Kurtzman, Roberto Orci, Jeff Pinkner
MPAA Rating: None.
Studio: Sony Columbia Pictures
Release Date: May 2, 2014

Earth to Echo: Mysterious messages from another world

When a group of young friends begin to receive bizarre encrypted messages on their cellphones, they embark on an incredible adventure to discover the meaning behind these communications. Soon enough, they realize that the messages they are receiving are from a mysterious being from another world - one who desperately needs their help.

After a construction project begins digging in their neighborhood, best friends Tuck, Munch and Alex inexplicably begin to receive strange, encoded messages on their cell phones. Convinced something bigger is going on, they go to their parents and the authorities. When everyone around them refuses to take the messages seriously, the three embark on a secret adventure to crack the code and follow it to its source. But taking matters into their own hands gets the trio in way over their heads when they discover a mysterious being from another world who desperately needs their help. The epic, suspenseful and exciting journey that follows will change all of their lives forever.

Directed by: Dave Green
Starring: Teo Halm, Astro, Reese C. Hartwig, Ella Wahlestedt, Jason Gray-Stanford, Samantha Elizondo
Screenplay by: Henry Gayden, Andrew Panay
MPAA Rating: PG for some action and peril, and mild language.
Studio: Relativity Media
Release Date: April 25, 2014

The Terminal Double-Sided Movie Poster

The Terminal Double-Sided Movie Poster

The Terminal Double-Sided Movie Poster

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Life is Waiting

Krakozhian traveler Viktor Navorski (Tom Hanks) arrives at New York's John F. Kennedy International Airport, only to find that his passport is suddenly no longer valid due to the outbreak of a civil war in Krakozhia, his homeland. As a result, the United States no longer recognizes Krakozhia as a sovereign nation, and he is not permitted to either enter the country or return home. Unable to communicate in proper English, he is forced to hand over his passport and ticket to the Police.

With no other choice, he settles in at the terminal with only his luggage and a Planters peanut can, much to the frustration of Frank Dixon (Stanley Tucci), the US Customs official responsible for the airport. Dixon is being considered for a promotion and becomes obsessed with getting rid of Viktor. Meanwhile, Viktor befriends and helps airport employees and travelers, among them a flight attendant named Amelia (Catherine Zeta-Jones). He sees her periodically and becomes attracted to her.

One day, Dixon pulls Amelia aside and questions whether she really knows Viktor or what is in his Planters can. Viktor subsequently explains to Amelia that the peanut can contains a copy of the "A Great Day in Harlem" photograph. His late father was a jazz enthusiast who had discovered the famous portrait in a Hungarian newspaper in 1958, and vowed to collect the autographs of all 57 of the jazz musicians featured on it. He died before he could get the last one, from the tenor saxophonist Benny Golson. Viktor has come to New York to do so. After hearing the story, Amelia kisses Viktor.

After nine months, his friends wake Viktor with the news that the war in Krakozhia has ended. Amelia also asked her "friend" — actually a married government official with whom she had been having an affair — to get Viktor a one-day emergency visa to fulfill his dream, but Viktor is disappointed to learn she has renewed her relationship with the man during this process. Moreover, Viktor finds out that Dixon needs to sign the visa. Seizing the opportunity, Dixon threatens to cause trouble for Viktor's friends. Most seriously, he plans to deport Gupta back to India, where he is wanted for assaulting a corrupt police officer back in 1979. Unwilling to let this happen, Viktor finally agrees to go home to Krakozhia. When Gupta learns of this, however, he runs in front of a plane as it taxies to the terminal, resulting in his deportation, effectively taking the burden off Viktor.

The delay gives Viktor enough time to go into the city. Dixon, watching Viktor leave the airport, decides not to pursue him. Viktor arrives in New York at the hotel where Benny Golson is performing and finally collects the last autograph. Then he gets in a taxi, telling the driver, "I am going home."

Directed by: Steven Spielberg
Starring: Tom Hanks, Catherine Zeta-Jones, Stanley Tucci, Chi McBride, Diego Luna
Screenplay by: Sacha Gervasi, Jeff Nathanson
Studio: DreamWorks Pictures
Release Date: June 18, 2004

Transcendence: Having Knowledge to Acquire Unstoppable Power

Dr. Will Caster is an artificial intelligence researcher who strives to create a machine that possesses sentience and collective intelligence. Extremists who oppose technological advancement target him, but their actions drive him toward his goal. Caster also wants to become part of the new technology, and his wife Evelyn and his best friend Max Waters, also researchers, question the wisdom of this drive. Caster's goal to acquire knowledge becomes one to acquire power, and he seems to be unstoppable.

Transcendence is directed by cinematographer Wally Pfister in his directorial debut. Jack Paglen wrote the initial screenplay for Pfister to direct, and producer Annie Marter pitched the film to Straight Up Films. The pitch was sold to Straight Up. By March 2012, Alcon Entertainment acquired the project. Alcon financed and produced the film; producers from Straight Up and Alcon joined together for the film. In the following June, director Christopher Nolan, for whom Pfister has worked as cinematographer, and Nolan's producing partner Emma Thomas joined the film as executive producers. By October 2012, actor Johnny Depp entered negotiations to star in Transcendence.

The Hollywood Reporter said Depp would have "a mammoth payday" with a salary of $20 million versus 15 percent of the film's gross. Pfister met with Noomi Rapace for the film's female lead role and also met with James McAvoy and Tobey Maguire for the other male lead role. The director offered a supporting role to Christoph Waltz.

In March 2013, Rebecca Hall was cast as the female lead. By the following April, actors Paul Bettany, Kate Mara, and Morgan Freeman joined the main cast.

Continuing his advocacy for the use of film stock over digital cinematography, Wally Pfister chose to shoot the film in the anamorphic format on 35mm film. The film is going through a traditional photochemical finish instead of a digital intermediate. The Chinese company DMG Entertainment entered a partnership with Alcon Entertainment to finance and produce the film. While DMG contributed Chinese elements to Looper and Iron Man 3, it did not do so for Transcendence.[15] Filming officially began in June 2013.

Transcendence is scheduled to be released in theaters on April 18, 2014. It was originally scheduled for April 25, 2014. Warner Bros. will distribute the film in the United States, and Summit Entertainment (through Lionsgate) will distribute it in other territories, except for China and the United Kingdom. DMG Entertainment, who collaborated with Alcon Entertainment to finance and develop Transcendence, will distribute the film in China.

Directed by: Wally Pfister
Starring: Johnny Depp, Rebecca Hall, Paul Bettany, Morgan Freeman, Kate Mara, Cillian Murphy, Clifton Collins, Jr.
Screenplay by: Jack Paglen
MPAA Rating: None.
Studio: Summit Entertainment, Lionsgate Films
Release Date: April 18, 2014

The Godfather Movie 3D Poster

The Godfather Movie 3D Poster

The Godfather Movie 3D Poster

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the godfather, the godfather posters, the godfather 3d posters, the godfather movie posters, marlon brando posters, al pacino posters, classic movies, classic movie posters

The Adventures of Tintin Double-Sided Movie Poster

The Adventures of Tintin Double-Sided Poster

The Adventures of Tintin Double-Sided Poster

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The Adventures of Tintin 3D

Thrilling and wildly funny, the Tintin stories chronicle the escapades of a junior reporter who has a nose for a good story and a talent for attracting trouble, which more often than not imperils his life! Spielberg and Jackson have selected three stories from the Tintin book series to develop into theatrical feature films, which they intend to direct back to back, employing state of the art performance capture technology.

Steven Spielberg and Peter Jackson share not only fertile imaginations but also a drive to venture into frontier realms. From extra-terrestrials to Middle Earth, they have forged unforgettable characters and worlds so breathtakingly original they could never have been experienced outside a movie theatre. And yet, neither had ever applied their skills and artistry to a 3D animated motion picture.

Directed by: Steven Spielberg
Starring: Daniel Craig, Simon Pegg, Jamie Bell, Cary Elwes, Andy Serkis
Screenplay by: Steven Moffat, Edgar Wright, Joe Cornish, Hergé
MPAA Rating: PG for adventure action violence, some drunkeness and brief smoking.
Studio: DreamWorks Pictures
Release Date: December 21st, 2011

300: Rise of an Empire Movie Double-Sided Poster

300: Rise of an Empire Movie Double-Sided Poster

300: Rise of an Empire Movie Double-Sided Poster

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300: Rise of an Empire

300: Rise of an Empire is inspired by Greek History and centers on Themistocles and Artemisia I of Caria, as well as Xerxes I of Persia. The Battle of Artemisium was a naval engagement, concurrent with the battle of Thermopylae, and was fought between an alliance of Greek city-states and the Persian Empire in September 480 BC, in the straits between the mainland and the northern tip of the island of Euboea.

The film will probably also focus, in part, on the Battle of Salamis, in which Artemisia played a major role, as well as possibly the Battle of Marathon. The Battle of Salamis (home of the mythical hero Ajax) was fought after the Persian Empire had advanced into southern Greece and occupied Athens. The film will also cover some of the backstory of Xerxes, and will explain how he became "the God King".

Directed by: Noam Murro
Starring: Sullivan Stapleton, Eva Green, Lena Headey, Hans Matheson, Rodrigo Santoro
Screenplay by: Zack Snyder, Kurt Johnstad
MPAA Rating: None.
Studio: Warner Bros. Pictures
Release Date: March 7, 2014

Oculus: Childhood nightmare is beginning again

Ten years ago, tragedy struck the Russell family, leaving the lives of teenage siblings Tim and Kaylie forever changed when Tim was convicted of the brutal murder of their parents. Now in his 20s, Tim is newly released from protective custody and only wants to move on with his life; but Kaylie, still haunted by that fateful night, is convinced her parents’ deaths were caused by something else altogether: a malevolent supernatural force­­ unleashed through the Lasser Glass, an antique mirror in their childhood home.

Determined to prove Tim's innocence, Kaylie tracks down the mirror, only to learn similar deaths have befallen previous owners over the past century. With the mysterious entity now back in their hands, Tim and Kaylie soon find their hold on reality shattered by terrifying hallucinations, and realize, too late, that their childhood nightmare is beginning again...

Directed by: Mike Flanagan
Starring: Katee Sackhoff, Karen Gillan, Brenton Thwaites, James Lafferty, Rory Cochrane
Screenplay by: Mike Flanagan, Jeff Howard, Jeff Seidman
MPAA Rating: None.
Studio: Relativity Media
Release Date: April 11, 2014

Cesar Chavez: The story of the famed civil rights leader

Chronicling the birth of a modern American movement, Cesar Chavez tells the story of the famed civil rights leader and labor organizer torn between his duties as a husband and father and his commitment to securing a living wage for farm workers. Passionate but soft-spoken, Chavez embraced non-violence as he battled greed and prejudice in his struggle to bring dignity to people. Chavez inspired millions of Americans from all walks of life who never worked on a farm to fight for social justice. His triumphant journey is a remarkable testament to the power of one individual’s ability to change the world.

In Cesar Chavez, director Diego Luna presents a powerful cinematic portrait of the legendary activist. The film stars Michael Peña (End of Watch, Lionsgate’s Academy Award-winning Crash) in the title role, along with America Ferrera (Ugly Betty, End of Watch), Rosario Dawson (Sin City, Seven Pounds) and John Malkovich (In The Line of Fire, Summit Entertainment’s Red and Red 2).

About Cesar Chavez

From the 1950s through 1993, when he died, Chavez worked as a community organizer and fought for improved working conditions for California farm workers. The Mexican-American co-founded the National Farm Workers Assn., which later became the United Farm Workers union, and campaigned to prevent illegal immigration from undermining unionization efforts.

Chavez's birthday, March 31, is celebrated as a state holiday in several states, including California and Texas, and he was awarded the U.S. Medal of Freedom posthumously in 1994. In 2006, California Gov. Arnold Schwarzenegger inducted him into the state's hall of fame.

Directed by: Diego Luna
Starring: Gabriel Mann, Rosario Dawson, John Malkovich, Michael Peña, America Ferrera
MPAA Rating: PG-13
Studio: Lionsgate Films
Release Date: March 28, 2014

The Wildest Night in Bachelorette Party History

Bride-to-be Claire, her sister Leslie, fun-loving Zoe, and quirky new friend Janet set off to Las Vegas for a one-night bachelorette party that turns out to be more than they bargained for. A series of unexpected adventures including, getting kicked out of a strip club, being mugged and getting pummeled by the Las Vegas’ reigning gelatin-wrestling champion, Veronica, rip them from the glitz and glamour of the Las Vegas strip and places them smack dab in Vegas’ seedy underbelly.

Determined to keep their bachelorette party dreams alive, the girls band together and embark on the wildest night in bachelorette party history. Fueled by sex and booze, this raunchy, riotously hilarious, out-of-control, blow-out is, for better or worse, all caught on tape. And is destined to go down as the Best Night Ever.

Best Night Ever was shot on location in Los Angeles, Palm Springs and Las Vegas over three weeks in July and August of 2012. Written and Directed by Aaron Seltzer & Jason Friedberg, the team behind such spoofs as Meet The Spartans, Date Movie and Vampires Suck, BEST NIGHT EVER offered a departure from their usual fare. Though the Vegas locale and general scenario drew common comparisons to films like The Hangover series, Bridesmaids and Bachelorette, the filmmakers sought out to create an original fictional film, and given the low budget and experimental shooting style, one that Friedberg and Seltzer could really have fun with.

Shooting Best Night Ever was like being on tour with your favorite rock n’ roll band. We steam-rolled through our shoot the way AC/DC stream-rolls through an awesome set. There was action and comedy and excitement each day of the shoot. In a lot of ways the shoot reflected the story of the movie, it didn’t matter if things went wrong we were determined to do what we had to do to get it shot and have a fun time doing it. The shoot took us everywhere, from a seedy hotel in the shadows of Los Angeles, to 90° nights in Palm Springs, to the always nostalgic Downtown Strip in Las Vegas.

Directed by: Sebastián Lelio
Starring: Paulina Garcia, Sergio Hernández, Diego Fontecilla, Fabiola Zamora, Luz Jiménez, Alejandro Goic, Liliana Garcia
Screenplay by: Sebastián Lelio, Gonzalo Maza
MPAA Rating: R for sexual content, some graphic nudity, drug use and language.
Studio: Roadside Attractions

The Hunger Games: Catching Fire Becomes Number 1 Film of 2013

Lionsgate's The Hunger Games: Catching Fire became the highest-grossing film released at the domestic box office in 2013 as it grossed an estimated $493,000 last night for an estimated domestic cume to date of $409.4 million in its first 49 days of release, the Company announced today.

Catching Fire, which set records for the biggest November opening weekend of all time ($158.1 million) as well as the biggest three- and five-day Thanksgiving box office totals ever, has already become the 13th highest-grossing North American release in history and remains in wide release. It passed the first Hunger Games film, which grossed $408 million at the domestic box office, on Tuesday and is the fifth fastest film ever to reach the $400 million mark at the domestic box office.

The success of Catching Fire marks the first time the first two installments of a franchise have each topped $400 million at the domestic box office, and both films now rank among the top 15 domestic film releases in history. Catching Fire has also grossed $428.8 million internationally for a worldwide box office total of $838.2 million in its first seven weeks of release compared to $691 million worldwide box office generated during the entire run of the first Hunger Games film. The Company noted that Catching Fire is the first 2D film to become the top-grossing film of the year since 2008.

"The Hunger Games franchise continues to evolve into a truly global phenomenon," said Lionsgate Chief Executive Officer Jon Feltheimer. "The success of The Hunger Games: Catching Fire is a testament to the vision of author Suzanne Collins, the sure hand of director Francis Lawrence, the brilliant performances of a remarkably talented cast led by the amazing Jennifer Lawrence and superb execution by our motion picture production, marketing and distribution teams. We will continue to grow the transformative Hunger Games franchise in the years to come even as we continue to develop a dynamic portfolio of premium new brands."

The next two installments of The Hunger Games franchise, The Hunger Games: Mockingjay Part I and The Hunger Games: Mockingjay Part 2, are currently in production for release on November 21, 2014 and November 20, 2015, respectively.

About The Hunger Games: Catching Fire

The Hunger Games: Catching Fire begins as Katniss Everdeen (played by Jennifer Lawrence) has returned home safe after winning the 74th Annual Hunger Games along with fellow tribute Peeta Mellark (played by Josh Hutcherson). Winning means that they must turn around and leave their family and close friends, embarking on a "Victor's Tour" of the districts. Along the way Katniss senses that a rebellion is simmering, but the Capitol is still very much in control as President Snow prepares the 75th Annual Hunger Games (The Quarter Quell) - a competition that could change Panem forever.

The Hunger Games: Catching Fire is directed by Francis Lawrence, and produced by Nina Jacobson's Color Force in tandem with producer Jon Kilik. The novel on which the film is based is the second in a trilogy written by Suzanne Collins that has over 65 million copies in print in the U.S. alone.

The Quite Ones to Create a Poltergeist

A university student (Sam Claflin of The Hunger Games: Catching Fire) and some classmates are recruited to carry out a private experiment -- to create a poltergeist. Their subject: an alluring, but dangerously disturbed young woman (Olivia Cooke of Bates Motel). Their quest: to explore the dark energy that her damaged psyche might manifest.

As the experiment unravels along with their sanity, the rogue PHD students, led by their determined professor (Jared Harris of Mad Men and Sherlock Holmes: A Game of Shadows), are soon confronted with a terrifying reality: they have triggered an unspeakable force with a power beyond all explanation. Inspired by true events, The Quiet Ones is directed by John Pogue from a screenplay by Craig Rosenberg and Oren Moverman and John Pogue, and based on a screenplay by Tom de Ville.

Directed by: John Pogue
Starring: Jared Harris, Sam Claflin, Erin Richards, Rory Fleck-Byrne, Olivia Cooke
Screenplay by: Craig Rosenberg and Oren Moverman, John Pogue
MPAA RAting: PG-13 for intense sequences of violence and terror, sexual content, thematic material, language, and smoking throughout.
Studio: Lionsgate Films
Release Date: April 25, 2014

Date and Switch: Love's all about the right combination

High school seniors Michael and Matty have been best friends since 3rd grade. Still virgins, they make a pact to help each other “score” before Senior Prom – but their mission suddenly takes an unexpected turn when Matty announces that he’s gay.

Date and Switch is an upcoming comedy film directed by Chris Nelson and written by Alan Yang. It stars Nicholas Braun, Hunter Cope and Sarah Hyland. It was originally titled Gay Dude.

Alan Yang started writing the script in 2009. Date and Switch is part of Lionsgate's ten "microbudget" projects, all produced under $2 million. Principal photography began in Vancouver, Canada in August 2011.

Directed by: Chris Nelson
Screenplay by: Alan Yang
Starring: Nicholas Braun, Hunter Cope, Sarah Hyland
Studio: Laurence Mark Productions
Distributed by: Lionsgate Films
Release Date: February 14, 2014

The World of I, Frankenstein Movie

The story of I, Frankenstein is set in an unnamed gothic metropolis that both resembles our contemporary world and takes it to a more fantastical extreme. Bringing it to life took Beattie into fresh visual territory – and he took with him a team including director of photography Ross Emery (The Wolverine, Underworld: Rise of The Lycans), production designer Michelle McGahey (Tomorrow, When the War Began) and costume designer Cappi Ireland (The Tender Hook).

Early on the decision was made to shoot in Melbourne, Australia. Melbourne might not come to mind as the world’s most Gothic city, but it features such versatile geography that it was able to serve as a wide-open canvas for Beattie’s vision of all nighttime shoots and intricate set-pieces.

Born in Melbourne, Beattie knew the city could be transformed both into Adam’s past and current-day worlds. “Everything you need is there. There are great visual effects houses, great locations and great sound stages. We were basically able to create an absolutely believable European style city,” he muses.

While the film begins in the lamp-lit 18th century, the creature known as Adam soon emerges into a modern city – though one split between soaring, ancient cathedrals and the cold, underground laboratories where scientific breakthroughs are underway.
To capture these diverse images, cinematographer Emery chose the RED Epic® HD camera system for its extreme versatility. “You can take more risks and you can capture your imagination better,” Emery says of the digital cameras. “I was really pleased with the way the system worked on this film and with being able to use the cameras in such a way that the actors had more freedom to react to what was happening in the story and to each other.”

Emery utilized contrasting color palettes to evoke the way Adam is caught between the demon, gargoyle and human worlds, feeling he belongs to none of them. “We use a lot colors that are in-between primary pure colors,” he notes. “This gives the world its own look – and reminds the audiences that there is a high level of fantasy going on.”
Amidst the fantasy, Emery also honed an intense atmosphere of action, one reflecting Adam’s constant struggle to survive as a hunted being. He especially enjoyed collaborating with Beattie on Adam’s battle sequences, as mortally wounded demons burst into the flames of hell-fire.

“Adam has become quite proficient at finding the demon hordes and ‘descending’ them, as they would say,” says the cinematographer. “We tailored these action scenes to really highlight the way that Adam fights. He’s a very physical creature, with his own primal, brutal manner.”

Beattie, in turn, was exhilarated by working with Emery. “He is an absolute legend,” says the screenwriter/director. “Lakeshore originally asked me to meet with him – and it turned out we had very similar ideas about what to do and how to do it. It was amazing working with him.”

For production designer McGahey, who previously worked with Beattie on Tomorrow, When the War Began, I, Frankenstein brought a rare opportunity to design a fantasy city from the ground up. “We reflected on European and Eastern Bloc cities,” she explains. “I saw the city as over-scaled, clean but messy in the corners, as well as empty and cold. Within the city, the cathedral is a place that is ascending and the Wessex Institute is a place that is descending, so the colors reflect that. The cathedral is warm, and Wessex is very, very cold.”

These contrasts were also at work in the costume designs of Cappi Ireland, who has twice won the Australian Film Institute’s Award for Best Costumes. She especially enjoyed designing the gargoyle garments. “Gargoyles are kind of an ethereal, monastic warrior group, so they had to look powerful and strong yet also vulnerable and soft,” the designer explains. “And then of course there is Queen Leonore, who we wanted to be an ethereal shining beauty, which Miranda really is.”

Ireland purposely avoided standard gladiator garb. “We looked more at images of warrior monks, and tried to stay away from the typical leather vibe,” Ireland continues. “We wanted to do something that hadn’t been done before. We also aged all of the gargoyle costumes so they looked like they’d been worn for centuries, and showed the battles they’ve been through.”

For Naberius, she aimed for elegant evil. Ireland notes, “Sometimes you can create something sinister by making a character look really good. Bill Nighy wears beautiful, sleek, tailor-made Italian suits – so when he shows his evilness, it’s even more chilling.”

The piece de resistance for Ireland was Adam himself, especially as he appears after 200 years of roaming the earth. She set out to create the look of an outsider who has learned to blend in. “As time’s gone by, Adam’s scars have healed and he looks only a bit unusual walking down the street of modern society,” she observes. “We wanted a look that suggests that Adam is able to slip in and out of the human world, even if he doesn’t feel he’s a part of it.”

The intricate prosthetic work of makeup effects supervisors Nick Nicolaou and Paul Katte – co-founders of Sydney-based Make-up Effects Group, known for their work on The Hobbit – was equally key to creating the characters, especially the demons. Beattie was clear from the beginning that he didn’t want the demons to be caricatures, but rather to be dark, twisted riffs on human form.

Nicolaou and Katte scoured the internet for human inspiration. “We looked for images of people with wrinkles and solid jaws. They were the basis for our sculptures. We’d sculpt a human face and then we’d distort it to make it look as demonic as possible,” Nicolaou explains.

They crafted a different look for each demon, delineating their rank by their horns. “There’s the minion rank, who have pale faces, a lot of veins and breakdown in their skin. And then you get the typical demons, which have the smallest set of horns, followed by the mid-demons, such as Zuriel and Helek, who have slightly stronger horn structure, to suggest more dominance,” Nicolaou says. “And then we move to Prince Naberius who has the most elaborate horn design of all.”

Nicolaou and Katte say Adam’s makeup was one of the most demanding creative challenges of their careers – in large part because Beattie wanted to straddle a fine line between the grotesque, stitched-up appearance of a classic Frankenstein monster and a more subtly uncanny visage, befitting Adam’s long life and evolving humanity.

“For the current-day Adam, we used what we call prosthetic transfers, which are basically a three-dimensional transfer using an acetate-type film that we apply like a Band-Aid,” Katte explicates. “For the 1700’s Adam, we instead used a silicone makeup, with a more elaborate stitch design and a more contorted look.”

The duo especially enjoyed collaborating with the cast and crew. “It’s really enjoyable for us to do good work, but it’s even more enjoyable to work with people who are appreciative of what you do,” says Katte. “That made a huge difference for doing our best work.”

Frankenstein's Adam: Very first of his kind

Like his namesake, Adam, Frankenstein was the very first of his kind – but to this day, he remains alone, with no companionship, no communion with anyone else who shares his not-quite-human experiences of the world.

Beattie knew that his version of Frankenstein’s creature would require an actor as skilled with complex emotions as with physical action and suspense. The filmmakers found that unique combination in Aaron Eckhart, known for a wide range of dramatic and action roles that share in common one thing: a palpable intensity. His many notable roles have ranged from ‘Harvey Dent’ aka ‘Two-Face’ in The Dark Knight and a soldier fighting aliens in Battle Los Angeles to a grieving father in Rabbit Hole and a silver-tongued tobacco spokesman in Thank You for Smoking.

Eckhart also had the strong physical presence to carry off a creature whose appearance had to be both haunting and intriguing. Says Wright: “Aaron coming on board crystallized what this character should be for us. Aaron has a fantastic face. If you’re going to get an actor and put scars on his face and make him up grotesquely you still want him to be good-looking and somebody that the audience can identify with, both men and women alike. Aaron brought those qualities.

As soon as he took on the role, Eckhart began exploring Adam’s inner world – and his everlasting yearning to know what it would be like to have a human soul. He saw the character as someone hunting for an identity and a reason for his confounding existence. “He’s a man in search of himself. I think a lot of people can relate to that,” says Eckhart.

Eckhart took a lot of his inspiration from Mary Shelley’s original depiction of Frankenstein’s creature. Born from a highly unorthodox scientific experiment, Shelley’s creature is soon reviled and hunted, while longing for kindness and company. In Eckhart’s depiction, even 200 years later he has not yet found any peace.

“Historically the monster of Frankenstein has been considered to be a vicious, feral character,” notes Eckhart. “However in this film and in Mary Shelley’s Frankenstein, yes, he’s outwardly scarred but he’s also inwardly scarred, and that was important. But you also see that he was not wanted by his father, that he has had to fend for himself alone in a dangerous world. You see that he has always been looking for some kind of love.”

With the constant danger Adam is in, Eckhart had to enter into intensive training for the role for several months. “Among other things, I learned the art of Kali stick fighting,” he explains. “It’s a technique of fighting that my character uses that’s very complex and intricate.”

Beattie was impressed with Eckhart’s ability to embody every aspect of Adam, including his physical prowess. “There’s great joy in having a performer who can actually
perform the stunts as you photograph them,” he muses. “To me, that is part of the fun of this movie: you’re going to see Aaron Eckhart do his stunts and fights and, my goodness, he does them well; he’s amazing.”

Grevioux also felt that Eckhart fulfilled on his original vision of a modern Frankenstein’s creature. “Aaron’s ability to carry this character was nothing short of incredible. Here’s this very good-looking guy and he’s transformed himself into a monster w

Kellan Lutz Talks About The Legend of Hercules

Kellan Lutz has always been fascinated by Hercules and after a brief conversation with writer/director Renny Harlin, he jumped at the chance to take on the title role in The Legend of Hercules. The first action movie of 2014, this Hercules tale is an origin story in which the son of Zeus discovers where he came from and evolves into the hero he's meant to be.

What was your reaction when you first saw yourself in the costume?

"I thought you were going to say when Renny said that I got the role. I was going to yell your ear off. I was just so happy for that. When I saw myself in the costume... you know, Renny knows how to pick them. He's an amazing director and has impeccable vision, and he hired Sonoo [Mishra]. She's done some amazing things, but she's not too well known. Already mentally I felt like Hercules, but with the wardrobe that she created, the costume, from the smallest details I just came alive. I just wanted to start swinging the sword around, having the lion cape. It was a process and we didn't have much time. She's talented so it really helped me get into character. I never wanted to go home. I never wanted to sleep. I just wanted to wake up, have it be a new day, just so I could be in my costume."

Did you take it home with you at the end of the shoot?

"I took quite a few things home with me, and they let me. I have my sword. I have the dagger that my mother is killed with. We had red in all my gladiator battles, just to show a progress of the story, just like a red pot or a red bandage, just the blood that's been shed and Hercules had gone through. I took part of that cloth home. I took the pendant - the snake pendant - that Hercules wears to remind him of what he's fighting for, for his love of Hebe. I took quite a bit, actually. I liked it."

You said you didn't have a lot of time. Was there a really short period between when you were hired and when you actually got in front of the camera?

"Renny called me while I was in Arizona on March 21st, I believe. He said I have seven days to get to Bulgaria. I had to drive back to LA and then I was like, 'Shoot.' Thank God I live such an active life style. That's why I didn't feel too much pressure. I'm like, 'Look, I don't have time to get crazy, crazy shredded because we were shooting so soon.' I had a week to get to Bulgaria, then I had eight days to start shooting. I had to learn how to ride a horse like an expert with my butt getting really sore. It's a lot of rubbing if you don't ride right. I also had to fight with a sword like an expert so it was really great having Liam McIntyre, who was Spartacus, there to train with. He would just show me all the short cuts. It was a lot of work in a small amount of time."

Was only having eight days to get ready for the role better for you in the long run? Or do you like it when you have months to think about it?

"Let me dissect that a little bit. Preferably, I would love to have as much time as I can, just mentally, physically, spiritually get into the role. The great thing that really assisted me in our case is, I was already mentally prepared. I've been in love with Hercules and the tales of Hercules since I was a little boy and I would color in Hercules and the Nemean Lion. My admiration for the tales and who he signifies as a hero and a lot of his spiritual attributes reflect biblically and I'm a man of faith. I read The Iliad and The Odyssey at a young age before they were required in school reading. I already knew who Hercules was and who I wanted to bring to life. And already I lived an active lifestyle so physically I was there. I just wanted to really put myself on the horse riding to look like an expert, and with the sword play. I'm a perfectionist. I love being the best that I can.

But in most times, if this was another tale that I had no knowledge of, I would have felt a lot of pressure. But I was just so excited for our movie because I already felt him. It was a blessing to allow my childhood dream to come alive and bring him to the big screen."

How close was what you thought of Hercules as a child and what you grew up admiring about him to the Hercules we see in the film?

"99.9%. It really signifies who his core is... he's a gentleman. He's genuine, loving, and respectful. He is a hero's hero. He's the original superhero. He doesn't have to be boastful, because he's super strong. He cares about people. He's very humane and has a lot of humility. His super-strength comes through, like all of us. If we get that push of adrenaline, that fight or flight where you need to save someone, you're going to have that inner strength. It's just a really great transition seeing this man, who is a demigod, with attributes of self-denial and guilt and shame, go on the journey as we have with our story, and become the god where he's the saviour of the people. He's the fighter against injustice.

The only thing that was missing that I really wanted that we had tried was the long hair. I've been a huge fan of Kevin Sorbo's Hercules. Just growing up and seeing that show, I've always wanted long hair. My hair grows outwards, not down. It's not heavy enough. We had tried a wig and I was just really adamant. I'm like,'Renny, this is what I'd really love to do. This would just nail it to a T for me.' I already felt like I knew who Hercules was with his personal attributes and his character. But with the long hair... He let me try it. He knew, but he let me figure it out on my own. Riding a horse in the rain while you're fighting people is the hardest thing to do with a wig. It's just all over the place. We opted out to use my short hair. I quite preferred it."

You know his back story, but the film's trailers basically center on the action. How much do we actually get to learn and how much of the movie is just action?

"It's an amazing story. What we decided to do was build the epic adventure but start from the beginning. You learn who Hercules is and you go on a journey with him finding out who he is, with him accepting his true identity. That is him being kind of a selfish teenager thinking he's just human, thinking he's born of the evil king. Then his love is stripped away. He's enslaved. Through different trials and tribulations he's forced into accepting [who he is]. What he's learned after his mother dies is that he is part god. He is a demigod. He's born of Zeus. He goes through these moments of self-denial but can't help but accept it due to these battles, like being able to kill six gladiators. Sure enough, that's who he is. He fights against injustice. You just learn who he is.

It leaves it open to a sequel and then we can go on to 12 Labors. The great thing about mythology and Hercules is there's a multitude of tales. You can never tell every tale and put it on the big screen. There's just too many of them there. There's no right or wrong. The great thing is it's mythology so you can create any part of the tale, a small thing and embellish it a little more because that's what mythology is. It's a timeless telephone game. People have added to the story, changed it a little bit. That's where we take our freedom. We just want to start at the beginning, set it up, and then let's go on the ride. I would love to play Hercules for the rest of my career. I just had the time of my life."

How many sequels do you want to do?

"There's so many tales. I'd love to do 12 Labors next. It's really kind of great to do this and then have The Rock's come out. I love mythology and I love Hercules. Ours is a beginning one for fans, I think they're going to really love it. His later years, when he has gone through a lot of the hardships and he's really the warrior and the fighter, see The Rock's Hercules. I'm excited."

Do you think that the popularity of superhero films and the continuing popularity of Marvel and DC has actually opened a younger generation up to rediscovering Greek mythology?

"I don't know about Greek mythology, per se. I feel like Hercules is the original superhero. I think Thor and Captain America and Marvel and DC have all come from mythology, tales of heroes who are part god, part human/part god in some nature. It's kind of like back in the day Westerns were the action. As we have grown in a culture we have guns, we have tanks, we have fast cars. Now action is more of that. You want the superhero to fly and shoot lasers and have amazing weapons. It's kind of hard to go back, but you'll always have that layer. You'll have that foundation where they came from.

It's sort of hard to make, besides No Country for Old Men or True Grit or 3:10 to Yuma, to really do a Western as an action movie. We've kind of evolved, in a sense. I'm not saying not to watch mythology, but for new heroes, I think they do take on some story to story. You can always create new characters. I think nowadays making it to that kind of grandiose scale of Marvel and how they've been doing it and what we deal with with Hercules, you can't just do a simple version anymore. You really have to have an epic adventure and make it 3D and have this massive overload of action. But ours is equally action. It's fast-paced. It's a great love story. All the character development, I'm really proud of what Renny created."

Speaking of Renny, what was he like on the set and what was that whole experience like for you?

"Oh, my god. He's the best director I've worked with. Hands down. When we had first met for the audition, we found out... Like a business meeting, you sit there, you talk shop a little bit. He was really intrigued with my passion for mythology and the serials. I was really intrigued with his. He was really impressed. Then we started talking personal life. We were neighbors down in Venice. Then we realized we share the same birthday, March 15th, so very fateful. Then I was telling him this story. I was like, 'Oh, I leave my back door open and this cat comes in to my place. It'd lay on my chest. It's the weirdest thing.' Renny's like, 'Well, that's my cat!' I was like, 'Where do I sign on the dotted line because this is just too hilarious?!'

Just from day one on set, he's just such a visual director. He has this comedic authority. Maybe it's because he's from Finland. He has this funny kind of quirky humor. He's always telling jokes. He's all about camaraderie. Every day from set we would do these family dinners. He would be the host and he would do this thing where you have to tell a story or something you're thankful for. He just really drove the ship in the best way that I've ever worked with a director. Maybe it's because I'm the lead and we chatted so much, but we still talk. We still hang out. I've never done that with another director.

I've just been so impressed. I was a huge fan with him from Cliffhanger and especially Die Hard 2. I love all those Die Hard movies. To know that he is such a good dude with such a kind heart. He's so loving. He's the one who really pushed for us to work with saving the dogs in Bulgaria, him and Erica, his girlfriend, and to work with that organization to create a facility to help rescue these stray dogs that are all over the place in Bulgaria. He's just a kind man and hard worker. He's literally just involved in everything, every little detail in the world that we create. Hands down, my favorite."

The Legend of Hercules: Gods, Heroes and Mortals

Hercules, the mythical Greek hero - the son of Zeus, a half-god, half-man blessed with extraordinary strength. Betrayed by his stepfather, the King, and exiled and sold into slavery because of a forbidden love, Hercules must use his formidable powers to fight his way back to his rightful kingdom. Through harrowing battles and gladiator-arena death matches, Hercules embarks on a legendary odyssey to overthrow the King and restore peace to the land.

For the role of Hercules which has been reprised over the years by many, Harlin wanted to cast an actor people could really embrace as a fresh, new face--and someone who could take the character of Hercules and make it his own. "The way we approached the casting of this entire movie, was that we wanted rising actors who weren't necessarily associated with a lot of other previous roles," said Harlin. "I really wanted young faces and great actors."

Harlin searched through Europe, Australia and the U.S. for actors and had them test on screen with different scenes. Some of the actors weren't found until right before production began, including for the role of Queen Alcmene. "We didn't find Roxanne McKee until about the week before we started shooting," said Harlin. "I probably saw about 80 actresses for that role, as I did for most of the roles, because I always had a very clear picture in my head. All of the actors had to feel right for this kind of historical film. I didn't want them to feel too modern and we were lucky enough to find, for every role, just the perfect fit."

Kellan Lutz recalls his connection to the role of Hercules also began as a young boy with a wild imagination living on a farm. "Hercules represents so much to me, and it was always something as a kid growing up on a farm I'd dreamt about playing," said Lutz. "Once Renny had the script, I wanted to meet with him, and I almost felt like if I bugged him enough, and showed him how much this part meant to me, that I'd get the role. So I auditioned for him, and he saw something in me and here I am today just living that little boy's dream."

The infamous character of Hercules instantly came to life for Lutz when he put on the costume and walked onto the grand sets. "You walk into these incredible soundstages and you see the other actors wearing these amazing costumes and the acting just comes naturally from that point," said Lutz.

"This is one of the best experiences I've ever had as an actor and the best group of people I've gotten to work with. Renny is the leader of this massive ship, and he leads with authority, compassion, openness, love and respect to everyone. And that just makes everyone want to prove to him how much they appreciate working on this film."

Starring as Hercules' best friend and partner in battle, Sotiris, Liam McIntyre had also long admired this time period. "I read a lot of history as a kid, and always found Greek and Roman mythology to be so fascinating," said McIntyre. "What I loved most about this time period is that it's the dawn of civilized society if you will--where cohesive, structured, formal armies are forming and religious systems are feeding into their laws." Like Harlin, the actor was also drawn to Hercules' influence on today's heroes. "Hercules was truly the benchmark for men and superheroes. If you go back to that time and look at Hercules you'll see they're all in some way based off of him," continued McIntyre.

"The work our costume designer and production designer have done has been incredible," said McIntyre. "The idea that you can walk into set Monday and be on a ship, and then on Friday you're on a battle field that is as authentic as you can imagine is just phenomenal. And our costume designer has been brilliant-- because one thing she didn't have a lot of was time. She created masterpieces out of thin air. We're very lucky as actors to be working with such a great team."

As Hebe, the Princess of Crete, Gaia Weiss' first impression of the expansive sets had her feeling like a kid in an amusement park. "I was absolutely amazed because everything is so grand," said Weiss. "It felt incredible that it all came from someone's imagination. Renny and his production design team are remarkable at making everything look absolutely gorgeous."

Weiss prepared for her role by creating a soundtrack that would get into the right emotion. "I always get a soundtrack so I can work on my lines with it in front of a mirror where that sound creates an atmosphere for me," said Weiss. "When you're first working on a script you don't know how the sets will look, and sometimes you don't even have a clear idea of what the atmosphere of the film will be, so this soundtrack helps me with that."

Finding the right actress for Lutz to play opposite of was important for Harlin. "It's not only about finding the perfect actor for each part, but how those actors are going to interact with each other," said Harlin. "And we got lucky with not only the chemistry of these two lead characters, but with the chemistry of everyone on that screen."

"I love the Hercules and Hebe relationship because while this film has a lot of fighting and action, it's equally a romance piece," said Lutz. "There's a connection between these two characters that feels true and real. You can see that behind their titles, of princess and demigod are two young lovers full of life."

Weiss finds her character is drawn to Hercules because of his courage as a protector and his sentiments as a kind man who she can't live without. The actress recalls preparing for her role with Lutz and developing the background they imagined for their characters. "Kellan and I had actually imagined different backgrounds, which actually complimented each others," said Weiss. "We had two weeks of preparation which helped us become closer and friendly. And that helped because sometimes you just come on set and you have a kissing scene or a love scene and you don't even know the person, so it can feel a bit awkward."

"Gaia brought this elegance and timelessness to her character and has been an amazing actress to work with," said Lutz. "She's such an easygoing person and we created a friendship hanging out offset that translated into our characters with such ease. As acting partners taking on a love scene it helped because we had trust in each other and could forget about the awkwardness of the cameras."

Beyond Hercules' relationship with Hebe, was the passage of a conflicted young man coming into his own. "Throughout the film Hercules is on this greater journey of finding his identity and becoming the man that his is promised to be," said Lutz. "And in the end he accepts his responsibility as a sort of Robin Hood to the people--fighting injustice with justice to bring honor to his mother, his loved ones, his kingdom and to take his rightful place as this demigod."

The character required the actor to prepare and train for the demanding physicality of his role. The actor chose to perform most of his own stunts and prior to beginning the film, trained with a Bulgarian stunt team and his stunt doubles. Lutz trained for three weeks on sword fighting, horseback riding, spear throwing, and chains for his many battle scenes. "I love doing stunts and action films which is the genre I've chosen as an actor," said Lutz. "Some of the combat is of a grand scale, while other is hand to hand and I've really put all of myself into all of these scenes, with some scars to prove it. With such a great stunt team led by Rowley Llram, I felt really prepared for every fight scene--it's been fun every day."

For the film's stunt coordinator, Rowley Lrlam, his preparations began about ten days before shooting. "Luckily for me, the Bulgarian stunt team was really talented and had the choreography for the first month's shooting down," said Llram. "So I allowed that to continue and spent those ten days prepping and getting my head around the script and the schematics of the sets. We had 80% of the fights in the movie shot in the first month so we had a lot to figure out right away."

"The kind of stunts we've done, and the scope of action we've put together is the biggest I've ever done in my career," said Harlin. "And that's thanks to the amazing effort of everyone who's worked on this film."

With most of Hercules' greatest fight scenes alongside Sotiris, McIntyre embraced his character's role as a sounding board for Hercules and a confidant who brings balance to the demigod's perspective. "One of my favorite things about making this film was collaborating with Renny on forming this character," said McIntyre. "We decided he was the kind of man who came from tough upbringing, isn't glorious and hasn't had the privileges Hercules did. Sotiris plays it safe, is more cautionary and a little wiser about the world because of his difficult life, whereas Hercules always attempts impossibly wonderful things." McIntyre particularly enjoyed that the characters did not like each other at the start, but come together in battle and become brothers in armor with the common goal of survival. "They find they have more in common than they'd imagined with their struggles and their great loves, and the mutual dream to be free and return to them. Sotiris recognizes that Hercules is a special human being unlike anything he's ever seen before and decides to align with him and form a great friendship." McIntyre brought his own experience to the film's battle scenes from his work on Spartacus.

David Gore (Scooter) in Fly Me to the Moon

David Gore (Scooter) lists math, science, piano, chess, video games and WWII history as just a sampling of his interests and talents. Even at the age of nine, the multitalented actor has been around the entertainment industry for several years and calls it "another world." In the upcoming feature Opposite Day, Gore plays a very young Italian mob boss.

Gore regularly performs stand-up comedy at the World Famous Hollywood Improv. Continuously incorporating current events into his hilarious routines, Gore has also kept audiences laughing at the Ha Ha Comedy Club and B.B. King's Blues Club. He has appeared on the KTLA Morning Show and lent his comedic voice to "Jimmy Kimmel Live."

Gore has appeared on many television series, including "This Might Hurt," "Wizards of Waverly Place" and "Tim and Eric's Awesome Show: Great Job!" He was a featured player on "Jeopardy! Kids Week." Gore also appeared in the documentary film The Secret Life of Leonardo Da Vinci and the Discovery Channel's "Mob Scene." He has been in many music videos and commercials for products such as Sudafed, Coca Cola and Home Depot, to name a few.

Among his many projects, the short films Pubert and Girth feature Gore in the leading role. Both films will be touring film festivals this year. Other credits include Panicked, Within Reason and What the Shadows Hide.

A stage enthusiast who enjoys the energy of live audiences, David has appeared in theatre productions such as "Faces of War" at the Lyric Theatre, "Genie (Aladdin)" at the El Portal Theatre and "Charlie Chaplin" at the L.A. Connection Comedy Theatre.

Sweeney Todd The Cast

Sweeney Todd: The Demon Barber of Fleet Street

Sweeney Todd: The Demon Barber of Fleet Street

27 in. x 40 in.

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"Sweeney has had a long and successful career on stage, and yet, in a way you've never had the opportunity to get emotionally close to Sweeney," says producer Parkes. "It's the nature of the stage. You don't have close ups. But when you bring Tim, and particularly Johnny(Depp), to the mix, you have an opportunity to get inside Sweeney emotionally. In a way, it almost redefines the way you look at the play."

While on stage Sweeney Todd and Mrs. Lovett have usually been played by actors in their 50s and 60s, Burton was determined to skew the cast younger for his film. "It just felt that part of the energy on this was to make them a bit younger, in their 40s, and have the kids be kids, so the ages were a bit more appropriate to what the story really was, and it's not a teenager being played by a 30-year-old," he explains. "That, to me, was an energy that was very filmic as opposed to a stage thing when you could get away with it."

"Tim very much wanted there to be a potential for romance, two people who had a moment and lost it," observes producer Walter Parkes. "I think Helena does as much as Johnny to deliver that. There's a moment at the end where she sings one of my favorite songs, `By the Sea,' in which she is imagining the life she and Sweeney and little Toby could have if they could just let this all go. It's so poignant and so beautiful because it's simple, direct, unadorned and legitimately emotional -- and made all the more so because you know this cloud of tragedy is hanging over these three peoples' heads."

"The absolute core of Mrs. Lovett is that she's in love with this man who never notices her," says Bonham Carter. "He doesn't even look at her, except when she comes up with the genius idea of how to dispose of his bodies when, suddenly, she's visible. And she is a good partner, a good foil for him, because whereas he's a total introvert, she's extroverted. She's practical and, I think, a lot cleverer, frankly. She was Sweeney's landlord 15 years ago, when he was married. So when Sweeney comes back from Australia and finds her, she gives him back his old room, above her pie shop. But the thing is, she's always been in love with Sweeney. And I don't think he gives two hoots about Mrs. Lovett. He's so obsessed with avenging his wife's death. But there's something quite crucial she fails to tell him..."

Philip Seymour Hoffman found dead with needle in arm

Oscar-winning actor Philip Seymour Hoffman was found dead of an apparent drug overdose —- with a hypodermic needle still stuck in his arm —- inside a Greenwich Village apartment on Sunday, cops said.

A personal assistant found Hoffman in his underwear on a bathroom floor at 35 Bethune St. and called 911 around 11:30 a.m., sources said.

Cops found heroin inside the apartment, where Hoffman — who has repeatedly struggled with substance abuse — had been living recently, sources said.

“He was shooting up in the bathroom,” a law-enforcement source said.

The building is less than three blocks from the three-bedroom, 2-1/2-bath apartment on Jane Street that Hoffman, 46, and longtime girlfriend Mimi O’Donnell, a costume designer, bought for $4.4 million in 2008.

The couple have three children together.

A relative told The Post: “We’re just really devastated that this could happen.”

“There had always been a concern with the business he was in,” said Doris Barr, 76, whose son is married to Hoffman’s sister.

“We just worried there was a great opportunity for [drug] issues to come up.”

Barr, who lives in suburban Rochester, N.Y., said son Mark went to middle and high school with Hoffman and his sister, Emily.

“He was an extremely private person,” she said. “But he was very, very dedicated. This [acting] had been his dream for so many years, and he worked hard to accomplish what he did.”

In a statement released by Hoffman’s manager, Karen Samfilippo, his family called his death”a tragic and sudden loss.”

“We are devastated by the loss of our beloved Phil and appreciate the outpouring of love and support we have received from everyone,” the statement said.

“Please keep Phil in your thoughts and prayers.”

In 2006, Hoffman publicly admitted that he nearly succumbed to substance abuse after graduating from NYU’s drama school, but got sober in rehab.

Anything Can Happen on Nim's Island

Anything can happen on Nim's Island, a place where imagination runs wild and adventure rules. Here, a feisty young girl named Nim (Abigail Breslin), surrounded by her exotic animal friends and inspired by legends and books, leads an amazing tropical existence that mirrors that of her favorite literary hero: Alex Rover, the world’s greatest adventurer. When her island is threatened she reaches out to her hero for help.

But what Nim doesn’t know is that the acclaimed author of the Rover books is, in fact, Alexandra Rover (Jodie Foster), a retiring, fainthearted recluse locked away in a big city apartment. Now, as Alexandra nervously ventures forth into the world and Nim faces the biggest challenge of her exciting young life, they must both draw courage from the fictional gallantry of Alex Rover,and find strength in one another to save Nim’s Island.

An adventure comedy, Nim's Island is about becoming the hero of your own story -- as a girl who thought she was alone and a grown woman who thought she was scared of the world discover they can be so much more than they ever dreamed. The film features Academy Award® nominee Abigail Breslin (Little Miss Sunshine) in the spunky title role; Academy Award® winner Jodie Foster in a rare comic turn as Alexandra Rover; and heartthrob Gerard Butler (300, P.S. I Love You) in a dual role as Nim’s real father and valiant fictional idol Alex Rover.

Nim's Island is directed by husband-and-wife team Mark Levin and Jennifer Flackett(Little Manhattan) from their own screenplay written with Paula Mazur and Joseph Kwong, based on the acclaimed novel by Wendy Orr. The producer is Paula Mazur (Corrina, Corrina) and the executive producer is Stephen Jones (Superman Returns).

Movies: Initial Patterns of Production, Vitascope Cinématographe

The earliest patterns of American film distribution and exhibition have remained obscured by historical inattention. Gordon Hendricks' detailed studies of the invention of the Kinetograph, Kinetoscope, and Biograph leave relatively unexamined the contexts in which these initial cinematic devices were commercially exploited. In most survey histories of American cinema, discussion of this period focuses on the Koster and Bial exhibition of the Vitascope on 23 April 1896.

This event is included in most chronicles of early film history because it demonstrates the popularity of film as a vaudeville attraction. Yet missing from these histories is the integration of this single event into a systematic analysis of the early history of the film industry. What factors led up to the Koster and Bial exhibition, and what was its full significance as a precedent for the marketing of motion picture technology?

By using data collected from the contemporaneous trade press and business records of the Vitascope Company and the Edison Manufacturing Company, I shall consider the first year ( 1896-97) of large-scale commercial exploitation of cinema as a projected medium. The two principal companies involved, the Vitascope Company (licensees of Edison) and the Lumière Company, represent divergent marketing strategies for the American cinema. The success of the Lumières and the concomitant lack of it by the Vitascope Company attest to the determining influence vaudeville exerted on early practices of the motion picture industry.

The history of American commercial screen exhibition begins with the invention of the Kinetograph camera in the laboratories of Thomas Edison. Developed between 1887 and 1891, the Kinetograph was the camera with which, as Gordon Hendricks has noted, "every subject known to us up to May 1896" in the United States was shot. The Kinetograph films were not projected, however, but viewed by means of a peep-show device, the Kinetoscope, which was first marketed in April 1894. During the spring and summer of that year, Kinetoscopes were installed in penny arcades, hotel lobbies, summer amusement resorts, and phonograph parlors.1 By 1895 the Edison Company had demonstrated the practicability of motion photography, begun regular production of films for use in the Kinetoscope, and established the commercial usefulness of the motion picture as a popular entertainment novelty.

It was not until five years after Edison had patented the Kinetograph in 1891 that his laboratory produced its own movie projector. Journalist Terry Ramsaye's widely quoted explanation for Edison's delay was that the Wizard reasoned, "If we put out a screen machine, there will be use for maybe about ten of them in the whole United States.... Let's not kill the goose that lays the golden egg."2 There is reason to doubt that Edison thought in terms of the Kinetoscope as his magic goose and thus discounted the profitability of opening up motion picture exhibition to group audiences.

It is much more likely that the Kinetoscope scheme was perceived as a turkey rather than a magic goose; records of the Edison Manufacturing Company show that its supply of golden eggs lasted but a few months. Edison probably doubted the commercial value of the Kinetoscope from the beginning, and when returns from the device began to dwindle after a brief success, he turned his attention to the myriad other projects he was working on. Even before the first Kinetoscope had been placed into commercial service, Edison wrote Eadweard Muybridge, "I have constructed a little instrument which I call a kinetograph with a nickel slot attachment and some twenty-five have been made out. I am very doubtful if there is any commercial feature in it and fear that they will not earn their cost."

Ohio businessmen Norman Raff and Frank C. Gammon became exclusive American marketing agents for the Kinetoscope on 1 September 1894.4 The following May Raff wrote, "The demand for Kinetoscopes (during 1895) has not been enough to even pay expenses of our company.... In fact our candid opinion is that the Kinetoscope business--at least as far as the regular company is concerned--will be a 'dead duck' after this season."5 Public interest in the peep show was waning, and the owners were selling their machines, further depressing the market for new Kinetoscopes.6 To make matters worse, by May 1895 news had reached Raff and Gammon that Frenchmen Louis and Auguste Lumière had patented and publicly exhibited a camera/projector, the Cinématographe.

With their Kinetoscope business a failure and the prospects of a successful commercial projector imminent, during the summer and fall of 1895 Raff and Gammon pleaded with the Edison Company to develop its own projector, but to no avail. Just when the partners were trying to sell their business and cut their losses, they learned of a projector, the Vitascope, invented by two men from Washington, D.C., Thomas Armat and Francis Jenkins. In January 1896 Raff and Gammon concluded negotiations by which they received the license to market the device on a territorial-rights basis. To avoid potential patent litigation and to assure a supply of films, they also contracted for the Edison Company to manufacture the projector and provide films.

The marketing plan devised by Raff and Gammon for the Vitascope was based upon that initially used for the Edison phonograph. In June 1888 the North American Phonograph Company was formed for the purpose of exploiting the Edison phonograph and a competing machine, the graphophone. This company was authorized by Edison to grant exclusive territorial licenses for the lease of the phonograph and the purchase of recording cylinders. Within two years, North American had issued franchises to thirty-three state or regional companies. This territorial-rights marketing scheme was based on the assumption that the phonograph would be used primarily as a piece of office machinery: a stenographic aid.

Within a short time, however, it was discovered that the phonograph, as then designed, was not particularly useful as a dictating machine. Rights holders resorted to attaching coin-in-the-slot devices to their phonographs in an effort to recoup their investment. By 1892 most phonographs were being used, not in offices, but in saloons and penny arcades, a development which made the territorial-rights plan outmoded.9 Rights holders discovered that as the demand for phonographs increased with their popularity as entertainment devices, their clients began purchasing cheap copies of the Edison machine rather than leasing the original from them.

There is no discussion of the merits of the territorial-rights marketing scheme among the Raff and Gammon correspondence; its dubious usefulness in marketing entertainment devices did not deter them from resorting to it. The scheme devised for marketing the Vitascope called for the selling of franchises in the United States and Canada. For an initial advance payment, an agent could purchase exculsive rights to the Vitascope for a state or group of states, including the right to lease projectors (for from $25 to $50 monthly, per machine) and buy Edison films. The manner and location of the exhibitions were left entirely to the franchise holder. The agents could exploit the Vitascope themselves, or as Raff and Gammon repeatedly pointed out in their correspondence, the territories could be further divided and subfranchised.

The exhibition context Raff and Gammon had in mind for the Vitascope is unclear from their correspondence with prospective rights purchasers. In their initial catalogue, they suggest that a twenty-five or fiftycent admission charge could be made for a brief program of Vitascope subjects.11 What they do not seem to have had in mind was the use of films in vaudeville theaters on a regular basis. The films were to be sold, not rented. Raff and Gammon told prospective customers that the films could be used "for a long time." With a stock of only fifteen to twenty films at the beginning of their marketing campaign, Raff and Gammon were not in a position to supply vaudeville managers with the regular change of program their audiences had come to expect.

The two types of exhibition outlets Raff and Gammon envisioned for the motion picture seem to have been the penny arcade, or phonograph parlor, and presentations by itinerant showmen. Several people who bought territorial rights were operators of phonograph parlors. A. E Reiser, the Vitascope agent for Pennsylvania (exclusive of Philadelphia and Pittsburgh), operated a publishing company that specialized in providing books for public libraries. If the community did not have the funds, Reiser would help them raise the money by sponsoring musical concerts. He wanted to use the Vitascope in rural Pennsylvania to assist him in these fund-raising efforts.

Edge of Tomorrow: New Tom Cruise Movie

Edge of Tomorrow - Tom Cruise Double Sided Advance Movie Poster

Edge of Tomorrow - Tom Cruise Double Sided Advance Movie Poster

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Edge of Tomorrow

In a near future, an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world. Lt. Col. Bill Cage is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop -- forcing him to live out the same brutal combat over and over, fighting and dying again... and again. But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski. And, as Cage and Rita take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy.

The Other Woman: When a sworn enemy becomes greatest friend...

After discovering her boyfriend is married, a woman (Cameron Diaz) tries to get her ruined life back on track. But when she accidentally meets the wife he’s been cheating on (Leslie Mann), she realizes they have much in common, and her sworn enemy becomes her greatest friend. When yet another affair is discovered (Kate Upton), all three women team up to plot mutual revenge on their cheating, lying, three-timing SOB.

Director: Nick Cassavetes (Alpha Dog, The Notebook)
Starring: Cameron Diaz, Leslie Mann, Nikolaj Coster-Waldau, Kate Upton, Nicki Minaj and Don Johnson
Release Date: April 25, 2014 (Wide Release)

Johnny Depp confirms Transcendence and Black Mass as his next films

Deadline have confirmed that Johnny Depp will star in Transcendence and Black Mass, which means the actor had been extremely busy 2013 as principle photography is scheduled to take place back to back.

Depp’s representatives released this statement: Johnny Depp is set to star in Transcendence, the directorial debut of Oscar-winning cinematographer Wally Pfister. The film will begin principal photography in April.

The film is being financed and produced by Alcon Entertainment’s Broderick Johnson and Andrew Kosove and will be released by Warner Bros. The film will also be produced by Straight Up Films’ Annie Marter, Marisa Polvino and Kate Cohen along with David Valdes. Pfister will direct from newcomer Jack Paglen’s screenplay, which was developed with Annie Marter, with the most recent draft by Noah Oppenheim. Christopher Nolan and Emma Thomas are serving as executive producers. Straight Up’s Regency Boies will co-produce.

Following Transcendence, Depp will segue into the crime thriller Black Mass, about notorious Boston mob boss Whitey Bulger, to be directed by Barry Levinson, with Jez Butterworth writing a new draft of the screenplay by Mark Mallouk, based on the New York Times best-seller Black Mass: The True Story of an Unholy Alliance Between the FBI and the Irish Mob by Boston Globe reporters Dick Lehr and Gerald O’Neill.

Johnny Depp will be seen later this year, starring as Tonto in Disney’s big-budget adaptation of The Lone Ranger. The film is directed by Gore Verbinski (Pirates of the Caribbean) and also stars Armie Hammer as the titular hero.

Rush: The Search for Hunt and Lauda

Through his lead role performances in Thor and The Avengers, Australian actor Chris Hemsworth has shot to stardom within the last few years. With the versatility he's shown in movies from The Cabin in the Woods to Snow White and the Huntsman -- not to mention his movie-star wattage -- Hemsworth was a natural for McLaren driver Hunt, whom Howard describes as "a rock star on wheels."

"James was famous for being a ladies' man, famous for epitomizing the spirit of the '70s with a very free lifestyle," Howard says. "But he was incredibly competitive. . He represented the idea that you can be great without making it a business, that a vocation could be some wild form of expression, not just a job. Chris' performance captures that."

Howard had not met the actor before casting the part. "Chris won the role with his fantastic audition," he says. "I'd seen him in Thor and in Star Trek. I met him, I liked him, but I had no idea if he could be James Hunt. He convinced me and everyone involved with the tape that he made while he was on location doing The Avengers. It was remarkable. There was nothing more to say than, 'Please, sign that guy for the role.'"

While that sort of audition wasn't remotely what Hemsworth had in mind, he didn't want to miss the opportunity. "Normally, I wouldn't have done that unless it was something like this project and for someone like Ron, a director I've wanted to work with for years," says Hemsworth. "He's one of those people who is as good a person as he is a director. You want to work for Ron because you know every time you hold back a bit, he's there to challenge you. He knows he can squeeze something else out of it."

Naturally, performers hope to wrap themselves around a character, but that wasn't always easy for Hemsworth. Although he and Hunt share the same blue eyes and swagger, there was more to melding the two. "It was interesting to try to pin down exactly who James was," he says. "In reading different biographies, watching different interviews -- depending on what mood he was in -- and then speaking to people who knew him, there are varied opinions. I think that's why it was so fascinating to be around him: He was incredibly passionate, outspoken and a great amount of fun. But he also had a side to him that was bottled up, a sort of dark side. There were contradictions, which make for an interesting character."

Hemsworth learned that Hunt's duality was never more obvious than on the track. He provides: "I spoke to one of James' teammates, and he recalled a conversation he had with James where he said, 'God, James, those first two laps of the race you were all over the place!' And James just said, 'You know, I can never remember the first two laps.' He had that much adrenaline flowing, and we get all that in the film. He threw up before races and would work himself into a heightened state of tension because he believed that was where his best performance came from."

The more Hemsworth delved into Hunt's backstory, the more he was hooked. He says: "The best stuff I found was in the archive footage, little snippets before and after the interviews, when no one realized they were rolling. There are flashes of who James was. There was such fascination in his eyes, a thirst for life. Everything caught his attention. He was like a little kid. They own the environment they're in and have a need to explore the world and to be indulgent." Hemsworth pauses: "He didn't want to drive for second or third place. It was win or nothing. After James won the championship in 1976, he pulled back from it all. I don't think he felt the same passion."

Hemsworth wasn't sure if all of the tales of the infamous playboy were fact or lore. "In Hunt's biography, it says he'd been with 5,000 women," he notes. "There's a classic story in which all the flight attendants who came into Japan were staying at the same hotel James was. This was just before his big race at Fuji for the World Championship. He spent the night with each of them at different times...or at the same time."

The performer's research into Hunt's life -- not to mention the sets, costumes and vehicles -- made his transformation into 1970s Hunt a comfortable fit. "The period certainly suits my character," he says. "James belonged in that era. Everything was passionate and indulgent. As Ron kept saying, it was a time 'when the sex was safe and driving dangerous.' Now, it's the other way around. Everything has become so censured and sanitized. It always helps an actor when you're not trying to convince yourself who you are in that world, when everything around reminds you of it."