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VIDEO: Weather Breaking News: 2013 Atlantic Hurricane Season Forecast to Be ‘above Normal,’ ‘possibly Extremely Active’Published On 23 May 2013
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Jon Stewart has tapped Gael Garcia Bernal to star in his feature directorial debut "Rosewater," TheWrap has learned.
Scott Rudin is producing with Stewart and Gigi Pritzker of OddLot Entertainment, which is financing the film.
Stewart is taking a 12-week hiatus from hosting Comedy Central's "The Daily Show" in order to make the movie. "Daily Show" correspondent John Oliver will take over hosting duties for eight weeks during Stewart's absence.
Stewart wrote the script, which is adapted from Maziar Bahari's 2011 book "Then They Came For Me: A Family's Story of Love, Captivity and Survival," which he co-wrote with Aimee Molloy.
"Rosewater" is a passion project for Stewart, who optioned the book through his Busboy Productions banner.
Story follows Bahari (Bernal), a journalist who leaves his pregnant fiancé behind in London while he travels to Iran to spend a week covering the country's presidential elections. Instead, he winds up spending 118 days in a notorious Iranian prison where he is brutally interrogated by a man whose defining characteristic is the smell of rosewater.
In a twist of fate, Bahari's appearance on "The Daily Show" was used against him when he was accused of being a spy.
Bernal recently starred in Pablo Larrain's "No" and produced "Chavez," which stars Michael Pena. He's repped by WME.
Primetime television shows are eligible for the Primetime Emmy Awards, of course. So are programs that don't air during primetime, and commercials, and webisodes and apps, and Netflix's "House of Cards" and "Arrested Development" which are not by most standard definitions a television series.
Just as the face of television has morphed over the past decade, so has the face of the Emmy Awards. "Back in 1977, when the Academy was formed, we began with network broadcast, syndication and PBS," John Leverence, the senior vice president of awards at the Academy of Television Arts & Sciences, told TheWrap. "But that has changed significantly."
The new landscape is reflected in the TV Academy's mission statement: "The mission of the Academy is to promote creativity, diversity, innovation and excellence through recognition, education and leadership in the advancement of the telecommunications arts and sciences."
"It's no longer the television arts and sciences, but the telecommunications arts and sciences," said Leverence. "We now have stuff above and beyond where we began."
With the caveat that definitions are fluid, the landscape is changing and the field is so vast that we can't cover every possibility, here are the types of programming eligible for Emmys:
Programs that originally aired on broadcast television between 6 p.m. and 2 a.m. during the eligibility period, which this year is June 1, 2012, through May 31, 2013.
Netflix's "Arrested Development" just made it under the wire, debuting on the streaming service this coming Sunday.
Shows on basic cable or premium cable during the same period.
Shows available via interactive cable. This is where the potentially game-changing "Development" and "House of Cards" come in.
Programs that receive a limited theatrical release before their television debuts. Shows are supposed to have "originally aired on television," but there's some wiggle room for things like HBO documentaries that quietly pay for Oscar-qualifying theatrical runs before their television debuts. Seven-day, two-city awards-qualifying runs are allowed, as are seven-day, 10-city runs to satisfy a distributor or financier.
International productions, if they are the result of a co-production between U.S. and foreign partners and have a commitment to air on U.S. television.
Short-form animated and live-action programs that originally aired on television or on the internet. The categories are typically dominated by short-form work from Comedy Central, the Disney Channel and the like on the animated side, and webisodes on the live-action side, but Leverence said that YouTube and Funny or Die videos also qualify.
Interactive media productions of all kinds--webisodes, apps, etc.--that are tied to a television program or series, and original interactive productions. The interactive Emmys expanded from one to two awards this year, and the official rules detail four specific areas in which the jury can single out programming in the Outstanding Creative Achievement in Interactive Media category.
Commercials between 30 seconds and two minutes in length that originally aired during primetime to more than 50 percent of U.S. households or the potential television audience.
Shows that air during the daytime or don't air at any specific time, because they're internet- or on-demand-based, if they have the characteristics of a primetime program. "When we switched over to internet eligibility, we lost our temporal distinction between Primetime and Daytime Emmys," Leverence said.
"For atemporal mediums like Netflix and the internet, we drop back into our generic identifying mode." In other words, if it has the characteristics of a primetime program--a police procedural, a drama series, a comedy of the short that typically airs in the evening -- it qualifies.
"Usually, awards are very reactive," said Leverence of the rules that anticipated shows like "House of Cards" and "Arrested Development." "But now, it looks like for once in our life, we were a little bit ahead of the curve."
FX's border-cop drama "The Bridge" will premiere on July 10, the cable network said on Thursday.
After its debut, the new 13-episode series will continue to air on Wednesdays during the 10 p.m. timeslot.
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Oscar-nominee Demián Bichir ("A Better Life") and Diane Kruger ("National Treasure") star as two detectives, one from each side of the U.S.-Mexican border, trying to solve serial murders.
Executive Producers Meredith Stiehm and novelist and writer Elwood Reid adapted "The Bridge" for American television from the international hit series "Bron," which was set on the border of Denmark and Sweden.
"Bron" was produced by Shine Group's Filmlance and Denmark's Nimbus Film Production. Shine America's Carolyn G. Bernstein and Filmlance's Lars Blomgren are executive producing the American version.
Ted Levine, Annabeth Gish, and Thomas M. Wright, and Matthew Lillard guest star in the pilot episode directed by Gerardo Naranjo.
Viggo Mortensen will receive the fourth annual Dennis Lee Hopper Award at this year's inaugural AMFM Fest in California's Coachella Valley, Film 4 Change announced on Thursday.
Mortensen, an actor, writer, poet and visual artist, will receive the award at a ceremony in the desert town of Cathedral City on June 16, on the final day of the four-day festival that draws its name from the phrase "Art, Music, Film and More." His art will also be exhibited at the fest, which will include a screening of the Alex Kleinert documentary "Wild Horses and Renegades," in which Mortensen appears.
"Dennis believed that to be an artist, you had to embrace all the arts," Film 4 Change and AMFM Fest co-director Robert Galarza told TheWrap. "Viggo has his photography, painting, writing, poetry and philosophical musings in addition to his acting ability, and he has no great ego as an artist. He allows the art to move through him like a vessel, which is how Dennis saw the world."
The award honors artists who work in a number of fields and also advocate for social change. The first award was presented to Hopper posthumously in 2010 at the Albuquerque Film Festival. Subsequent honorees were Dean Stockwell and director Alex Cox.
Galarza and co-director Rich Henrich also announced the addition of the award-winning, Joshua Tree-based rock group Gram Rabbit to the AMFM Fest's music lineup, as well as the Venice Beach-based group Terraplane Sun.
"We came up in the spirit of the original South by Southwest," said Heinrich, "and we want to create a festival that has established headliners but also a large number of unsigned acts."
The AMFM Fest will run from June 13 – 16 at the UltraStar Mary Pickford Theater, the Cathedral City Town Square and other venues in the desert city between Palm Springs and Indio. The festival will include six world premiere films in a slate of more than 50, along with live shows, comedy, spoken word performances and art exhibits.
In keeping with Film 4 Change's mission to encourage social change through art, it will also showcase the work of the Boys and Girls Club of Cathedral City.
More information is available at www.amfmfest.com.
Mickey Fisher, an unknown and unsigned writer until recently, has film studios drooling over his script "Extant" for weeks. There's just one twist: it's not a film script.
Fisher wrote "Extant" as a TV pilot. It's a one-hour sci-fi drama about John and Molly Watts and their son, a human-like robot named Ethan. Molly, the space-traveling wife, is also pregnant with a baby that is part human and part alien. The family intrigue deepens in subsequent episodes.
Multiple agencies sought to sign the writer after reading the script, and WME won out. WME and manager Brooklyn Weaver, who discovered Fisher, sent the script around to the studios who are hot to trot for a high-concept script mixing sci-fi and familial drama.
"Everyone is freaking out about it," an agent at a rival firm said. "It's 'A.I.' as a TV series."
Though just 56 pages, it introduces several plotlines and interconnected characters that would be difficult to resolve in a single film. The script is written in five acts and takes place on earth and in a space station.
Warner Bros. still made an offer to acquire the project and turn it into a movie, according to multiple individuals inside and outside the studio, but now the studio is talking with Fisher about acquiring a different pitch. The studio declined to comment.
WME and Weaver always harbored dreams of turning "Extant" into a TV series with Steven Spielberg producing. They are halfway there: Amblin TV, which produced "ER" and "The Americans," is developing and packaging it. It remains unclear if Spielberg will take a credit, though his involvement would make it even more attractive to networks.
Not bad for a playwright whose lone screenwriting credits before this were "Summer Nuts" and "The King of Iron Town," a pair of microbudget films.
Fisher is also represented by attorney Jeff Frankel.
WikiLeaks founder Julian Assange seemed like an intriguing topic for prolific documentarian Alex Gibney, but little did he know the rabbit hole of secrets, lies and hypocrisy he would find as he dug into his subject.
Gibney's latest work, "We Steal Secrets: The Story of WikiLeaks," about Assange and his "radical transparency," is a fascinating look at one of our era's most fascinating information rebels.
WaxWord caught up with Gibney (pictured below) ahead of the movie's May 24 release.
You've just produced an Eagles documentary, and last year you made "Mea Maxima Culpa" about the church and sexual abuse -- and now this. You seem to be cranking out movies at incredible rate.
I have a disease. (Laughs.) I'm getting a chance to make movies that are so great, it's hard to turn them down. It feels like they are popping out so fast, but I worked on "WikiLeaks" for over two years, I've been working on more than one at a time.
This is a meaty topic. Assange starts off as a hero but ends up seeming like a fraud in some ways. He's a revolutionary for transparency who ends up becoming the opposite -- that's a fantastic story. Is that what drew you?
I was drawn to story of a transparency radical. I thought it was a whole David and Goliath story. But in the face of so much hostility and danger and in the midst of accruing so much fame, something happened.
He became so convinced of his own goodness, his own nobility, that he began to believe the ends justified the means. That he could lie in service of the truth. That became very interesting to me. In that way, he became all too similar to the government, his very enemies.
How did you decide to do this?
It was an assignment. Universal came to me and said, "Would you do this?"
I thought it was about a leaking machine. The idea that there was an anonymous electronic dropbox, beyond national borders, eluding political traps. The balls of this guy -- I thought, "Wow."
Assange is one-man wrecking crew in terms of fighting corruption and venality and abuses of power. For all those reasons, he seemed a hero for our age.
That's what attracted me initially. A classic internet hero: a man alone with a laptop, roaming the world, like the Scarlet Pimpernel. Who wouldn't want to do that story?
Are you a transparency radical?
No, I wouldn't call myself a transparency radical. I don't believe in releasing all information. But far too much is kept secret. We wouldn't know about WikiLeaks if it weren't for Bradley Manning and the Afghan, Iraqi war logs. But Julian wasn't the leaker; he was the publisher. But this leak -- Bradley Manning -- was a rough justice for the amount of material that is unnecessarily being kept secret.
Isn't that the impulse of most governments?
After 9/11 you saw a sea change. Obama has increased surveillance in many ways. But you're right -- the executive branch can't help it.
So then where do you draw the line? Where is it too much transparency?
If you come across the recipe for some nerve gas, would you publish that? Knowing people could die as a result? Absolutely not.
Would Assange publish that?
He said that in the movie -- an NPR reporter asks him. And sometimes sources need to be protected. You can't leak secrets that lead to people being physically hurt.
What about the State Department cables that were leaked?
This particular leak acted as an important corrective. There was too much being kept secret. It was useful to pull back the curtain and see what was happening.
Assange feels the only way to hold people to account is to leak everything. That's his rough justice. And I don't necessarily believe that. With the State Department cables, in the beginning it felt like the sky was going to fall, but that's not the case at all. People were embarrassed. And sometimes rightfully so. But American national security was not damaged.
Now we have an absurd situation where Assange is holed up in the Ecuadorean embassy in London, all because he won't go back to Sweden to face charges of sexual assault. You spoke to the victim. Is he making himself a Joan of Arc figure?
It's about somebody who needed everybody to believe in a lie.
Yes. All of Julian's defenders will say the U.S. was coming back to get him and would have shipped him off to Guantanamo (if he went to Sweden). I don't find any proof of that whatsoever. Julian convinced himself he's the victim of a fiction that he invented.
You talk to one of the women who say that Assange failed to use a condom during consensual sex. How is this rape?
We don't know what the charge would be. If the allegations were true -- they had sex and he purposely tore the condom -- if he had HIV...
I don't see how that rises to the level of rape or even sexual assault. What do you call it?
I consider it wrong. Do I consider it a crime? That depends on the law of that country. It would be a crime in Sweden and United Kingdom if it's proven. The purpose of my including this information was not to say he's guilty, it was simply to say that it's too easy. Julian was mocking the women.
The women didn't press charges. They went to the police to get him to take an AIDS test. The prosecutors decided these were potential crimes that should be investigated. It has to do with whether there was intent to deceive and convey disesase or genetic material.
What will be the end of Julian Assange? Or is this already the end?
This will not be the end of Julian Assange. He's still doing work. But it's the end of Julian Assange's role as a truth teller. We can no longer believe in him as a truth teller. But he did something terribly important. The legacy of WikiLeaks is still very important.
Charles Ramsey, the Celevand, Ohio man who helped rescue three women from a decade of captivity earlier this month, is joining the likes of Batman, Rocky and John McClane with a statue erected in honor of his heroism.
The statue will be unveiled to the public on Friday in Stanville, Kentucky at the Eric C. Conn Law Office.
"I can't think of a better way to commend my friend Charles than having a statue made in his honor," Conn, a self-professed lover of statues, said.
Ramsey became a nationally-recognized hero after he noticed Amanda Berry, a Cleveland-area woman missing since 2003, screaming for help inside his neighbor's home on May 6. After breaking down the door, a 911 call led to police freeing two other women, Michelle Knight and Georgina DeJesus, kidnapped years ago by 52-year-old former school bus driver Ariel Castro.
A news interview featuring Ramsey spirited recount of the rescue quickly went viral and he became an overnight internet sensation. His lively personality was even celebrated with one the highest honors the internet can bestow -- the autotune treatment.
Following the statue ceremony, the piece will be donated to a museum in Cleveland, which is Ramsey's hometown.
The name of the artist commissioned to sculpt Ramsey's statue was not revealed, but he or she did note one particularly daunting challenge: "The most difficult part of making the statue is sculpting Ramsey's unique hair style."
‘Good Morning America’ Hits 19 Year Viewership High Over’Today’; ‘Good Day NY’ Beats NBC Morning Show In May SweepDancing With The Stars may have hit its lowest finale ever on Tuesday night, but it helped provide a nearly two-decade high to Good Morning America. With DWTS winners on the show on Wednesday, the ABC morning series continued its dominance over rival Today by beating the NBC show by 1.596 million viewers. That’s the largest single-day total viewership spread GMA has had in fast affiliate results over the NBC show since May 18, 1994. Good Morning America pulled in 6.091 million total viewers compared to Today’s 4.495 million. Back on that May day in 1994, GMA had 5.680 million viewers over Today’s 3.796 million. Until Wednesday, the biggest spread between the two was on November 28, 2012, when GMA’s 5.687 million viewers topped Today by 1.299 million. GMA had DWTS winners from last season on that day too. Over the month of May 2013, GMA was up 51% in the key 25-54 demo over last May while the Today show was down 31%. GMA wasn’t the only one to beat Today in May: The morning show was again topped in its home market by Fox station WNYW’s Good Day New York. In Adults 25-54, GDNY got a 1.385 ... Read More »
Evan Peters, an actor who has portrayed a lead in both seasons of FX's "American Horror Story," has been cast as super-fast mutant Quicksilver in "X-Men: Days of Future Past."
Quicksilver (right) is gifted with superhuman speed. The character, who is the son of Magneto, first appeared in "X-Men #4" in 1964, alongside his twin sister, the Scarlet Witch.
20th Century Fox's "X-Men" sequel will be the first time fans get to see the Marvel mutant on the big screen, but it may not be the last.
"Avengers" writer and director Joss Whedon has already stated Quicksilver will appear with the Scarlet Witch in the upcoming sequel to record-breaking blockbuster.
"You know, they had a rough beginning. They're interesting to me because they sort of represent the part of the world that wouldn't necessarily agree with The Avengers," Whedon told IGN at the ABC Upfront last week. "So they're not there to make things easier. I'm not putting any characters in the movie that will make things easier."
And it won't be easy for Peters to be cast in "The Avengers 2," either. While many Marvel properties -- like "Ghostrider" and "Daredevil" -- owned by competing studios have reverted back to Disney's control, Fox still owns the rights to the X-Men comics and doesn't appear to have any intention of letting them slip away.
Still, since Quicksilver and his sister were eventually recruited by Tony Stark to join the Avenger team, Whedon has full rights to utilize the characters in his Marvel extravaganza.
Peters appeared in "American Horror Story: Murder House" as antagonist Tate Langdon before starring as protagonist Kit Walker in the miniseries' second season, "American Horror Story: Asylum."
His film work includes a supporting role in 2010's "Kick-Ass," and two "Never Back Down" movies. Peters will next be seen in the comedy "Adult World," as well as the third season of "American Horror Story," which focuses on witches.