Ricky Gervais to Host Golden Globe Awards

Ricky Gervais to Host Golden Globe Awards | IMDb Blog@import "http://blog.imdb.net/wp-content/themes/imdb/style.css"; img.{border:0;} A blog from IMDb IMDb Blog Home AboutYour Face on the IMDb Twitter Page « Best Actress in a Drama Series Ricky Gervais to Host Golden Globe Awards

gervaisPeople.com is reporting that the Hollywood Foreign Press Association has tapped actor Ricky Gervais to host the 67th annual Golden Globe Awards, which will air on NBC on January 17, 2010.

Gervais, who has been a popular presenter at several awards shows in the past few years, is a welcome addition to the host’s circuit, and we have no doubt that he’ll liven up the ceremony nicely.

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TCA Quick Hits: Set visits to “NCIS: Los Angeles,” “Dollhouse”

TCA Quick Hits: Set visits to “NCIS: Los Angeles,” “Dollhouse” | IMDb Blog@import "http://blog.imdb.net/wp-content/themes/imdb/style.css"; img.{border:0;} A blog from IMDb IMDb Blog Home AboutYour Face on the IMDb Twitter Page « Winners Announced for the 25th Annual TCA Awards Farewell, John Hughes » TCA Quick Hits: Set visits to “NCIS: Los Angeles,” “Dollhouse”

This post was originally going to be titled “Quick Shots of False Hope,” in both homage to comedienne Laura Kightlinger’s entertaining essay collection, and in acknowledgment that even good TV news amounts to so much dust in the wind when one takes the industry’s 80 percent-plus failure rate into account. But pretty much all of what you’ll read here is good news, or at the very least interesting, so we’ll save the false hope for this week, when the broadcast networks present. Let the good times start a-rolling with…

pauley Pauley Perrette is guest starring on the second episode of “NCIS: Los Angeles,” in a cameo that executive producer Shane Brennan characterized as being “directly involved in helping us solve the case. Pauley is very excited to be joining us, and I think it’s something that the fans are going to absolutely really enjoy.”

On a side note, Brennan delivered this news from the ground floor of the “NCIS: Los Angeles” set, built to resemble an old Spanish mission but, to TV viewers, looks all too much like the courtyard on “Melrose Place.”

Brennan explained that since the original ops center was compromised (in part 2 of the “NCIS” crossover episodes)  they had to find another undercover location. So from the outside it looks like a charming piece of old California, but inside and upstairs is state-of-the-art equipment specially built for the unit (and actually, the series itself) by technology giant Lockheed Martin. This includes a gigantic touch-interactive screen that critics were allowed to play with by waving are hands across it and pretending we were in Minority Report. We discovered fake identification for one character in an upcoming episode, to be played by former “Six Feet Under” star Mathew St. Patrick.

– On the same day we visited “NCIS: LA” we headed over to the Fox lot to see Joss Whedon in the “Dollhouse.” This may be a comfort to “Dollhouse” fans: Whedon shared that when season two opens, Echo (Eliza Dushku) will be deeply impacted by Alpha downloading all of her personalities into her at once, which means she’ll actually have a persona instead of being a passive blank slate. Although lacking a personality is central to being a “doll,” that feature made it nearly impossible for viewers to connect to Echo. When I brought that up during the session, Whedon acknowledged a major correction was due.

“We will see that she has a cohesiveness and a mission that make every engagement mean a great deal more to her and she has, as Echo, her own agenda which is something she didn’t quite have,” Whedon explained, “and we did sort of build to that in Omega where she had been dumped with all the personalities and we heard her say her name. At the end this episode we are going to see how far she’s come and it’s a little further than the people around her know.”

So, I asked to establish complete clarity, even after each episode’s wipe she is going to have a distinct personality?

“We are going to see her as we know her, and then we are going to see something very different,” Whedon said. “And that is pretty much all I can say.”

tudyk–After the main session Whedon confirmed to me and a few others that Alan Tudyk would be returning for several episodes over the course of season two. Whedon said he couldn’t confirm an exact number because Tudyk does not like to be pinned down in any particular series. To wit: He has a fairly substantial role in the two-hour pilot for ABC’s midseason series “V.” Whedon also hinted that this season would head outside of the main Dollhouse to, perhaps, visit other branches. Hmm….

– While walking out a Fox publicist dashed past and told us the big “Futurama” news we hope you already know, which is that all of the original cast had signed on for its resurrection.

Up next: CBS.

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The Daily Show wins two awards

The Daily Show wins two awards | IMDb Blog@import "http://blog.imdb.net/wp-content/themes/imdb/style.css"; img.{border:0;} A blog from IMDb IMDb Blog Home AboutYour Face on the IMDb Twitter Page « Best Supporting Actor in a Mini-Series Best Actress in a Drama Series » The Daily Show wins two awards
Jon Stewart of The Daily ShowJon Stewart of The Daily Show

The Daily Show took home two awards tonight: Best Variety, Music or Comedy Series and Best Writing for Variety, Music or Comedy Series.  Jon Stewart accepted the Emmy for the Series and said, “We’re just happy to be up here looking more handsome than Ricky Gervais.”

The winning writers include  Steve Bodow, Jon Stewart, David Javerbaum, Josh Lieb, Rory Albanese, Kevin Bleyer, Jason Ross, Tim Carvell, John Oliver, Sam Means, Rob Kutner, J.R. Havlan, Rich Blomquist, Wyatt Cenac, Elliott Kalan, and Rachel Axler.

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Farewell, John Hughes

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John Hughes: 1950-2009John Hughes: 1950-2009

We’re still in shock after learning that John Hughes passed away today in Manhattan, at age 59.

Perhaps it’s because 59 seems too young, or maybe it’s more that he’s someone that has such strong ties to and influence on the teen years of so many of us, that we’re strangely without words.  We find ourselves only able to reminisce about funny scenes in films he directed or bits of dialogue that we still repeat to this day.  (We’re pulling together a group of favorite video clips from his movies and will be adding them to the upper left-hand side of our homepage any minute now.)

So we ask: what are some of your favorite John Hughes-related moments?  What are the characters, or places, or scenes that stick with you even now?

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Actor Patrick Swayze Dies at 57

Actor Patrick Swayze Dies at 57 | IMDb Blog@import "http://blog.imdb.net/wp-content/themes/imdb/style.css"; img.{border:0;} A blog from IMDb IMDb Blog Home AboutYour Face on the IMDb Twitter Page « Farewell, John Hughes 2009 Emmy Awards » Actor Patrick Swayze Dies at 57
Actor Patrick Swayze Dies at 57Actor Patrick Swayze Dies at 57

Actor Patrick Swayze, who attained heartthrob status in the movies Dirty Dancing and Ghost, died Monday after a long battle with pancreatic cancer; he was 57. The star revealed in March of 2008 that he was suffering from the deadly form of cancer, but continued working on the A&E series The Beast, and remained optimistic in interviews and on the set during his treatment.

Swayze shot to fame in the early ’80s as part of the destined-for-fame ensemble in the 1983 drama The Outsiders, and also appeared in the action drama Red Dawn before taking on one of the lead roles in the popular miniseries North and South. He hit his zenith of fame in the late ’80s and early ’90s with the smash hit Dirty Dancing (1987), the cult fave Road House (1989), and the Oscar-winner Ghost (1990), opposite Demi Moore and Whoopi Goldberg, where his pottery-making scene with Moore became one of cinema’s most iconic romantic scenes.

His films in the ’90s included another cult favorite, Point Break, as well as the drama City of Joy, the cross-dressing comedy To Wong Foo, Thanks For Everything, Julie Newmar, and the indie hit Donnie Darko. He reprised his Dirty Dancing role in the quasi-remake Dirty Dancing: Havana Nights. In addition to his role in The Beast, Swayze most recently appeared in the drama Powder Blue and British comedy Keeping Mum.

Swayze is survived by his wife Lisa Niemi, whom he married in 1975.

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Kidnap 2008 DVD Rip - Hindi Movie with Subtitle

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The underground filming

Alongside the Hollywood tradition, there has also been an "underground film" tradition of small-budget, often self-produced works created outside of the studio system and without the involvement of labor unions.

The Long Tail

One major new development in the early 21st century is the development of systems that make it much easier for regular people to write, shoot, edit and distribute their own movies without the large apparatus of the film industry. This phenomenon and its repercussions are outlined in Chris Anderson's theory, The Long Tail.

2000s Filming

The documentary film also rose as a commercial genre for perhaps the first time, with the success of films such as March of the Penguins and Michael Moore's Bowling for Columbine and Fahrenheit 9/11. A new genre was created with Martin Kunert andEric Manes' Voices of Iraq, when 150 inexpensive DV cameras were distributed across Iraq, transforming ordinary people into collaborative filmmakers. The success of Gladiator lead to a revival of interest in epic cinema, and Moulin Rouge! renewed interest in musical cinema. Home theatre systems became increasingly sophisticated, as did some of the special edition DVDsdesigned to be shown on them. The Lord of the Rings trilogy was released on DVD in both the theatrical version and in a special extended version intended only for home cinema audiences.

There is a growing problem of digital distribution to be overcome with regards to expiration of copyrights, content security, and enforcing copyright. There is higher compression for films, and Moore's law allows for increasingly cheaper technology.

More films were also being released simultaneously to IMAX cinema, the first was in 2002's Disney animation Treasure Planet; and the first live action was in 2003's The Matrix Revolutions and a re-release of The Matrix Reloaded. Later in the decade, The Dark Knight was the first major feature film to have been at least partially shot in IMAX technology.

There has been an increasing globalization of cinema during this decade, with foreign-language films gaining popularity in English-speaking markets. Examples of such films include Crouching Tiger, Hidden Dragon (Mandarin), Amelie (French), Lagaan (Hindi), Spirited Away (Japanese), City of God (Portuguese), The Passion of the Christ(Aramaic), Apocalypto (Mayan), Slumdog Millionaire (a third in Hindi), and Inglourious Basterds (multiple languages).

Recently there has been a revival in 3D film popularity the first being James Cameron's Ghosts of the Abyss which was released as the first full-length 3-D IMAX feature filmed with the Reality Camera System. This camera system used the latest HD video cameras, not film, and was built for Cameron by Emmy nominated Director of Photography Vince Pace, to his specifications. The same camera system was used to film Spy Kids 3D: Game Over (2003), Aliens of the Deep IMAX (2005), and The Adventures of Sharkboy and Lavagirl in 3-D (2005).

As of 2010, 3D movies are gaining increasing popularity. After James Cameron's 3D movie Avatar became the highest-grossing film of all time, many other movies have followed suit and been released in 3D, with the best critical and financial successes being in the field of feature film animation such as DreamWorks Animation's How To Train Your Dragon and Walt Disney Pictures/Pixar's Toy Story 3.

1990s: New special effects, independent films, and DVDs

The early 1990s saw the development of a commercially successful independent cinema in the United States. Although cinema was increasingly dominated by special-effects films such as Terminator 2: Judgment Day (1991), Jurassic Park (1993) and Titanic (1997), independent films like Steven Soderbergh's sex, lies, and videotape (1989) and Quentin Tarantino's Reservoir Dogs (1992) had significant commercial success both at the cinema and on home video. Filmmakers associated with the Danish filmmovement Dogme 95 introduced a manifesto aimed to purify filmmaking. Its first few films gained worldwide critical acclaim, after which the movement slowly faded out.
Major American studios began to create their own "independent" production companies to finance and produce non-mainstream fare. One of the most successful independents of the 1990s, Miramax Films, was bought by Disney the year before the release of Tarantino's runaway hit Pulp Fiction in 1994. The same year marked the beginning of film and video distribution online. Animated films aimed at family audiences also regained their popularity, with Disney's Beauty and the Beast (1991), Aladdin (1992), and The Lion King (1994). During 1995 the first feature length computer-animated feature, Toy Story, was produced by Pixar Animation Studios and released by Disney. After the success of Toy Story, computer animation would grow to become the dominant technique for feature length animation, which would allow competing film companies such as Dreamworks Animation and 20th Century Fox to effectively compete with Disney with successful films of their own. During the late 1990s, another cinematic transition began, from physical film stock to digital cinema technology. Meanwhile DVDs became the new standard for consumer video, replacing VHS tapes.

1980s: sequels, blockbusters and videotape

During the 1980s, audiences began increasingly watching movies on their home VCRs. In the early part of that decade, the movie studios tried legal action to ban home ownership of VCRs as a violation of copyright, which proved unsuccessful. Eventually, the sale and rental of movies on home video became a significant "second venue" for exhibition of films, and an additional source of revenue for the movie companies.

The Lucas-Spielberg combine would dominate "Hollywood" cinema for much of the 1980s, and lead to much imitation. Two follow-ups to Star Wars, three to Jaws, and threeIndiana Jones films helped to make sequels of successful films more of an expectation than ever before. Lucas also launched THX Ltd, a division of Lucasfilm in 1982,[38]while Spielberg enjoyed one of the decade's greatest successes in E.T. the same year. 1982 also saw the release of Disney's Tron which was one of the first films from a major studio to use computer graphics extensively. American independent cinema struggled more during the decade, although Martin Scorsese's Raging Bull (1980), After Hours (1985), and The King of Comedy (1983) helped to establish him as one of the most critically acclaimed American film makers of the era. Also during 1983 Scarfacewas released, was very profitable and resulted in even greater fame for its leading actor Al Pacino. Probably the most successful film commercially was vended during 1989:Tim Burton's version of Bob Kane's creation, Batman, exceeded box-office records. Jack Nicholson's portrayal of the demented Joker earned him a total of $60,000,000 after figuring in his percentage of the gross.

British cinema was given a boost during the early 1980s by the arrival of David Puttnam's company Goldcrest Films. The films Chariots of Fire, Gandhi, The Killing Fields andA Room with a View appealed to a "middlebrow" audience which was increasingly being ignored by the major Hollywood studios. While the films of the 1970s had helped to define modern blockbuster motion pictures, the way "Hollywood" released its films would now change. Films, for the most part, would premiere in a wider number of theatres, although, to this day, some movies still premiere using the route of the limited/roadshow release system. Against some expectations, the rise of the multiplex cinema did not allow less mainstream films to be shown, but simply allowed the major blockbusters to be given an even greater number of screenings. However, films that had been overlooked in cinemas were increasingly being given a second chance on home video.

During the 1980s, Japanese cinema experienced a revival, largely due to the success of anime films. At the beginning of the 1980s, Space Battleship Yamato (1973) andMobile Suit Gundam (1979), both of which were unsuccessful as television series, were remade as films and became hugely successful in Japan. In particular, Mobile Suit Gundam sparked the Gundam franchise of Real Robot mecha anime. The success of Macross: Do You Remember Love? also sparked a Macross franchise of mecha anime. This was also the decade when Studio Ghibli was founded. The studio produced Hayao Miyazaki's first fantasy films, Nausicaä of the Valley of the Wind (1984) andCastle in the Sky (1986), as well as Isao Takahata's Grave of the Fireflies (1988), all of which were very successful in Japan and received worldwide critical acclaim. Original video animation (OVA) films also began during this decade; the most influential of these early OVA films was Noboru Ishiguro's cyberpunk film Megazone 23 (1985). The most famous anime film of this decade was Katsuhiro Otomo's cyberpunk film Akira (1988), which although initially unsuccessful at Japanese theaters, went on to become an international success.

Hong Kong action cinema, which was in a state of decline due to endless Bruceploitation films after the death of Bruce Lee, also experienced a revival in the 1980s, largely due to the reinvention of the action film genre by Jackie Chan. He had previously combined the comedy film and martial arts film genres successfully in the 1978 films Snake in the Eagle's Shadow and Drunken Master. The next step he took was in combining this comedy martial arts genre with a new emphasis on elaborate and highly dangerousstunts, reminiscent of the silent film era. The first film in this new style of action cinema was Project A (1983), which saw the formation of the Jackie Chan Stunt Team as well as the "Three Brothers" (Chan, Sammo Hung and Yuen Biao). The film added elaborate, dangerous stunts to the fights and slapstick humor, and became a huge success throughout the Far East. As a result, Chan continued this trend with martial arts action films containing even more elaborate and dangerous stunts, includingWheels on Meals (1984), Police Story (1985), Armour of God (1986), Project A Part II (1987), Police Story 2 (1988), and Dragons Forever (1988). Other new trends which began in the 1980s were the "girls with guns" sub-genre, for which Michelle Yeoh gained fame; and especially the "heroic bloodshed" genre, revolving around Triads, largely pioneered by John Woo and for which Chow Yun-fat became famous. These Hong Kong action trends were later adopted by many Hollywood action films in the 1990s and 2000s.

1970s: The 'New Hollywood' or Post-classical cinema

The New Hollywood' and 'post-classical cinema' are terms used to describe the period following the decline of the studio system during the 1950s and 1960s and the end of the production code. During the 1970s, filmmakers increasingly depicted explicit sexual content and showed gunfight and battle scenes that included graphic images of bloody deaths.

'Post-classical cinema' is a term used to describe the changing methods of storytelling of the "New Hollywood" producers. The new methods of drama and characterization played upon audience expectations acquired during the classical/Golden Age period: story chronology may be scrambled, storylines may feature unsettling "twist endings", main characters may behave in a morally ambiguous fashion, and the lines between the antagonist and protagonist may be blurred. The beginnings of post-classical storytelling may be seen in 1940s and 1950s film noir movies, in films such as Rebel Without a Cause (1955), and in Hitchcock's Psycho. 1971 marked the release of controversial films like Straw Dogs, A Clockwork Orange, The French Connection and Dirty Harry. This sparked heated controversy over the perceived escalation of violence in cinema.

During the 1970s, a new group of American filmmakers emerged, such as Martin Scorsese, Francis Ford Coppola, Roman Polanski, Steven Spielberg, George Lucas andBrian De Palma. This coincided with the increasing popularity of the auteur theory in film literature and the media, which posited that a film director's films express their personal vision and creative insights. The development of the auteur style of filmmaking helped to give these directors far greater control over their projects than would have been possible in earlier eras. This led to some great critical and commercial successes, like Scorsese's Taxi Driver, Coppola's The Godfather films, Polanski's Chinatown, Spielberg's Jaws and Close Encounters of the Third Kind and George Lucas's Star Wars. It also, however, resulted in some failures, including Peter Bogdanovich's At Long Last Love and Michael Cimino's hugely expensive Western epic Heaven's Gate, which helped to bring about the demise of its backer, United Artists.

The financial disaster of Heaven's Gate marking the end of the visionary "auteur" directors of the "New Hollywood", who had unrestrained creative and financial freedom to develop films. The phenomenal success in the 1970s of Jaws and Star Wars in particular, led to the rise of the modern "blockbuster". Hollywood studios increasingly focused on producing a smaller number of very large budget films with massive marketing and promotional campaigns. This trend had already been foreshadowed by the commercial success of disaster films such as The Poseidon Adventure and The Towering Inferno.

During the mid-1970s, more pornographic theatres, euphemistically called "adult cinemas", were established, and the legal production of hardcore pornographic films began. Porn films such as Deep Throat and its star Linda Lovelace became something of a popular culture phenomenon and resulted in a spate of similar sex films. The porn cinemas finally died out during the 1980s, when the popularization of the home VCR and pornography videotapes allowed audiences to watch sex films at home. In the early 1970s, English-language audiences became more aware of the new West German cinema, with Werner Herzog, Rainer Werner Fassbinder and Wim Wenders among its leading exponents.

In world cinema, the 1970s saw a dramatic increase in the popularity of martial arts films, largely due to its reinvention by Bruce Lee, who departed from the artistic style of traditional Chinese martial arts films and added a much greater sense of realism to them with his Jeet Kune Do style. This began with The Big Boss (1971), which was a major success across Asia. However, he didn't gain fame in the Western world until shortly after his death in 1973, when Enter the Dragon was released. The film went on to become the most successful martial arts film in cinematic history, popularized the martial arts film genre across the world, and cemented Bruce Lee's status as a cultural icon. Hong Kong action cinema, however, was in decline due to a wave of "Bruceploitation" films. This trend eventually came to an end in 1978 with the martial arts comedy films, Snake in the Eagle's Shadow and Drunken Master, directed by Yuen Woo-ping and starring Jackie Chan, laying the foundations for the rise of Hong Kong action cinema in the 1980s.

While the musical film genre had declined in Hollywood by this time, musical films were quickly gaining popularity in the cinema of India, where the term "Bollywood" was coined for the growing Hindi film industry in Bombay (now Mumbai) that ended up dominating South Asian cinema, overtaking the more critically acclaimed Bengali film industry in popularity. Hindi filmmakers combined the Hollywood musical formula with the conventions of ancient Indian theatre to create a new film genre called "Masala", which dominated Indian cinema throughout the late 20th century.[37] These "Masala" films portrayed action, comedy, drama, romance and melodrama all at once, with "filmi" song and dance routines thrown in. This trend began with films directed by Manmohan Desai and starring Amitabh Bachchan, who remains one of the most popular movie stars in South Asia. The most popular Indian film of all time was Sholay (1975), a "Masala" film inspired by a real-life dacoit as well as Kurosawa's Seven Samurai and theSpaghetti Westerns.

The end of the decade saw the first major international marketing of Australian cinema, as Peter Weir's films Picnic at Hanging Rock and The Last Wave and Fred Schepisi's The Chant of Jimmie Blacksmith gained critical acclaim. In 1979, Australian filmmaker George Miller also garnered international attention for his violent, low-budget action film Mad Max.