Who Goes 'Hardest' in the Eight New Avengers Character Posters?

Though The Avengers doesn’t come out until May, it’s already time to play the same game we did with Bridesmaids’s first poster: Who goes hardest? Is it Robert Downey Jr. as Iron Man? Is it Scarlett Johansson as Natasha Romanoff? What about Jeremy Renner as Clint Barton? We score all eight characters’ ferocity and pick a winner after the jump. RDJ looks slightly disoriented as Iron Man, unfortunately. He looks like he’s searching for a fuse box in an Avengers HQ blackout. Chris Hemsworth still looks less like the god of thunder here, and more like the god of a 1988 volleyball tournament at Will Rogers beach. I’m not seeing much grit in either combatant. Downey: (out of 4) Hemsworth: That Chris Evans under there? He still resembles a specialty American Gladiator maybe named “Jingoism,” but that’s kind of fun. Meanwhile, Ruffalo’s unassuming Bruce Banner looks like a TV psychic or the American replacement host for Anne Robinson on The Weakest Link. There’s some subversion there, but not enough to make the post interesting. Evans: Ruffalo: Much better. Samuel L. Jackson’s murderous glare as Nick Fury is pleasantly terrifying, and he really makes the leather ensemble work for him. Tom Hiddleston is offering the same campy glam as he did in Thor, but his vogueing ball chutzpah is fabulous in a superhero poster. These guys move right to the top of the class. Jackson: Hiddleston: Jeremy Renner? More like Generic-ky Renner. Between Hawkeye’s drab costuming and uncommitted mugging, he looks like he’s ready to star in a mildly rambunctious romcom, not a superhero super-feature. Scarlett Johansson, however, is packing the Nordic finesse of another Johansson as Black Widow: Ingemar. That’s the “Hammer of Thor” fearsomeness Mr Hemsworth is lacking. Her ass silhouette is also quite fetching. Renner: Johansson: That puts Jackson in first place with Hiddleston and Johansson pulling in for a silver and bronze finish. Now: Your verdict?

Open Road Films Takes U.S. Rights to Dax Shepard's 'Outrun'

Open Road Films has acquired all U.S. rights for the romantic action comedyOutrun, starring,written and co-directed by Dax Shepard, who plays a classic getaway driver dwelling within the Witness Protection Program.our editor recommendsExclusive Media Assumes Dax Shepard Action Comedy 'Outrun'Bradley Cooper Is People Most sexy Guy Alive and States He's 'Single' The plot kicks into gear when Shepard's character confirms to operate a vehicle his girlfriend, carried out by Kristen Bell, to La simply to uncover themselves attacked both with the feds, introduced by Tom Arnold, and also the former gang, headed by Bradley Cooper. The cast includes Love Bridges, Kristin Chenoweth, David Koechner, Michael Rosenbaum, Pleasure Bryantand Ryan Hansen. David Palmer co-directed with Shepard. Outrunwas produced byAndrew PanaywithNate Tuck,Kim WaltripandJim Casey.Exclusive Media Group has acquired the world rights. The sale wasnegotiated regarding Open Road Films by Boss Tom Ortenberg, general counsel andexecutive v . p . of methods and business matters Elliott Kleinberg, andsenior v . p . of purchases Ben Cotner. Jamie Feldman and Linda Lichter of Lichter, Grossman, Nichols, Adler and Feldman talked about on account ofthe filmmakers. Related Subjects Dax Shepard Kristen Bell Bradley Cooper

Ough Gervais Alerts of Holocaust, Child molester Jokes at Golden Globes

Ough Gervais able to escape virtually no time telling Hollywood the kind of humor to anticipate when he hosts the Golden Globe Honours in Jan.our editor recommendsRicky Gervais' 10 Bawdiest Jokes in the Golden GlobesRicky Gervais Coming back as Host of Golden GlobesBravo towards the HFPA for Returning Ough Gervais as Golden Globes Host (Opinion)Ough Gervais Could Return as Golden Globes HostJohnny Depp Confronts Ough Gervais About Golden Globes Joke (Video)Related Subjects• Soon after the Hollywood Foreign Press Association confirmed the "Office" and "Extra supplies" creator would once more emcee the big event, he joked via Twitter he'd be focusing on the Holocaust around the telecast, "Just told Billy Very he'd do not use some of my holocaust or child molester material in the Academy awards. He agreed (true)." PHOTOS: Golden Globes 2011 Red-colored Carpet Style He later cautioned, "@piersmorgan: BOOM! @rickygervais back hosting Golden Globes. Hesitate, Hollywood egos, be very afraid." It's destined to be scriptural." Gervais elevated eye brows only at that year's telecast together with his irreverent, no-holds-barred barbs at Tinseltown bigwigs for example Tom Cruise, The Actor-brad Pitt and Cher. After quipping the HFPA were bribed to appoint the Tourist, which starred Depp and Julia Roberts, Gervais joked: "No, everything happened was a number of them were come to see Cher in concert. Just how was that the bribe, really? It's not, since it's not 1975." Younger crowd recommended that particular "famous Scientologists" are gay, and introduced an unamused Bruce Willis as "Ashton Kutcher's father." (Kutcher is married to Willis' ex-wife, Demi Moore, and stepfather for their three children.) STORY: Ough Gervais' 10 Bawdiest Jokes in the Golden Globes The HFPA's decision to create back Gervais wasn't an overall total surprise, as associates had told THR of talks between comic, NBC and also the organization that hosts the Globes earlier this year. Also, despite the fact that the HFPA declined to condone a lot of Gervais' jokes, the audience released an argument following a telecast stating that overall, "the show was one of the better we have ever endured and that we were pleased." The Globes averaged 17 million audiences on NBC, up five percent in demo in the year prior. Lost creator Damon Lindelof summed up Wednesday's news using a Peanuts example on his Twiiter account: "Hollywood Foreign Press = Charlie Brown. Ough Gervais = Lucy holding the football." Piers Morgan also taken care of immediately Gervais' new gig by inviting him like a guest on his show once if ruffles down again: "Dear @rickygervais - please can one possess the first 'Sorry basically upset anybody' interview following the 2012 Golden Globes, like before?Inch Gervais responded: "@piersmorgan I'll escape to NY straight after. Help you there." Related Subjects Golden Globes Damon Lindelof Ough Gervais HFPA Golden Globes 2012

NFL Launching Magazine in December

The National Football League is expanding its empire to the world of monthlies.our editor recommendsNickelback NFL Halftime Performance Protested By Detroit ResidentsFox Sports Chief Talks Dodgers TV Deal, NFL Coverage (Q&A) Primetime's Priciest Shows: How 'American Idol,' 'Sunday Night Football' and More Stack Up for Advertisers (Photos) PHOTOS: Hollywood's Biggest Fantasy Football Fans The forthcoming magazine is slated to hit shelves on Dec. 13 via the NFL's publishing partner, Dauphin Media Group. Joining a bevvy of already established sports mags, NFL magazine includes contributors such as former quarterback and NFL Today commentator Boomer Esaison and NBC's Sunday Night Football sideline commentator Andrea Kremer. NFL Publishing's Jim Buckley will serve as editor. "We know that 140 characters is not enough to tell the stories that NFL fans need to read about their heroes. The League's publication will be able to go places other magazine can't go, all with a true 'insider's' perspective," Buckley said in a statement. PHOTOS: 10 Broadcast and Cable TV Shows Most Watched By Men According to SportsBusiness Journal, the inaugural issue will feature stories on 49ers coach Jim Harbaugh, Panthers quarterback and Heisman Trophy winner Cam Newton, and Colts quarterback Peyton Manning. Other highlights include a feature on the 40th anniversary of the NFL's longest game and a behind-the-scenes peek at the NFL Network's NFL Gameday Morning. The opening print run is estimated between 300,000 and 400,000, with the mag's debut slated to hit during peak interest between Thanksgiving and Super Bowl Sunday, reports Min Online. The publication will follow the model of ESPN the magazine, implementing both digital and television components, with the glossy retailing at $19.90 for a year subscription and $5.50 per individual copy. Related Topics NFL

Internet marketer Paula Kupfer to Lionsgate

Jennifer Lawrence stars within the Hunger Games, an approaching pic that'll be marketed by incoming Lionsgate professional Paula Kupfer.With "The Hunger Games" and "What to anticipate When You are Expecting" pending, Lionsgate has employed marketing vet Paula Kupfer as Vice president of promotions and consumer items.Kupfer will spearhead all national promotions, certification and retailing for top-profile films. Lionsgate's opening "Hunger Games" on March 23 and "What to anticipateInch on May 11, viewing both photos as potential franchise starters for that small-major.Kupfer involves Lionsgate from twentieth century Fox, where she was professional director of feature-film close ties. She was formerly at The new sony Pictures Entertainment as professional director of worldwide consumer marketing.Kupfer received recognition for Fox's marketing campaign with respect to "X-Males: Top ClassInch with partner Farmer's Insurance. She also headed additional national promotions on that film including efforts using the U.S. Military, Best To Buy and Rim.While at The new sony, Kupfer done the campaigns for "Spider-Guy 3," "Quantum of Solace," "Surf's Up" and "The Da Vinci Code.""Hunger Games" is going to be launched in China the coming year among the 20 U.S. films permitted yearly into that territory through the Chinese government. Lionsgate's drawn on Striker Entertainment, that also works best for Summit around the "Twilight" films, because of its retailing program.Alcon Entertainment introduced a week ago it had decided to co-finance "What to anticipate When You are Expecting" -- its first such investment outdoors Warner Bros. Contact Dork McNary at dork.mcnary@variety.com

Jay Duplass on Jeff Who Lives at Home, Austin's Slacker Savants and the Duplass Secret to Success

comments: 0 || add yours For Mark and Jay Duplass, the sibling team behind The Puffy Chair, Baghead, and last year’s Cyrus, success came only after years of frustration — and only by happy accident. “All we were doing in the late ’90s, in our twenties, was trying to be the Coen brothers,” Jay Duplass laughed to Movieline, “and failing at that, because the Coen brothers are awesome and they’re already the Coen brothers.” It was only when the brothers Duplass stopped trying so hard, at the end of their creative rope and after years of fruitless attempts, that they found the formula for personal filmmaking that would become their signature. After releasing their 2008 indie horror Baghead, the Duplasses ventured into studio territory with 2010’s Cyrus, their first mainstream venture with studio backing (courtesy of Fox Searchlight) and name actors (Jonah Hill, John C. Reilly, and Marisa Tomei); next March, Paramount Vantage will release the slacker comedy Jeff Who Lives at Home, starring Jason Segel and Ed Helms. But, as Duplass explained via phone from the Savannah Film Festival, where he and his brother received the Cinevation Award for “imagination, inspiration and innovation in cinema,” they haven’t deviated from the indie spirit with which they work — they just select their projects, and their collaborators, more carefully. Read on for more with Jay Duplass on accidentally discovering his method (after years of post-film school frustration), why famous actors want to work with him and brother Mark, the security in having Sundance as a fall back plan, the Austin-area slacker savants who inspired Jeff Who Lives at Home, and the current status of the next Duplass release, the back-to-indie-roots sibling comedy The Do-Deca-Pentathlon. Jeff Who Lives at Home plays tonight and tomorrow at AFI Fest in Los Angeles. The award you’re receiving in Savannah isn’t just any award — it honors “imagination, innovation, and inspiration” in filmmaking. What does that represent to you? I can’t believe it… honestly, it’s very surreal, it’s thrilling, and it’s very hard to believe, honestly. You know, I didn’t make a decent movie until I was 30 years old, and that was a seven-minute movie that cost $3. I think it’s mainly because I went to film school, I tried really hard to be innovative and be interesting and be riveting and shit, you know, and my brother and I always wanted this stuff — but really, all we were doing in the late ’90s, in our twenties, was trying to be the Coen brothers. [Laughs] And failing at that, because the Coen brothers are awesome and they’re already the Coen brothers. It might be a good idea not to try to be them, they already have that down pretty good. How did you get from that to where you are now? What ended up happening is, we ended up kind of just really losing it. Me in particular, in my late-20s, just kind of feeling like approaching 30: I have to get a real job, it sucks, I’ve been working on this for over a decade, I haven’t made anything that I can say is even worth watching. And basically, in the basement of that awful time period, which lasted a couple of years, my brother said, “We’re going to make a movie today.” This was when digital cameras were first coming out. We made this movie this one day in Austin called This is John with our parents’ video camera, where Mark acted in it and I shot it. It was like how we used to do it when we were kids. We made this movie, basically, about a guy who’s trying to perfect the personal greeting on his answering machine and fails to do so, so much to the point that he’s about to have a nervous breakdown, which is basically something that had happened to me a month before. It was the first time that we made a movie about what we go through in life. And it was literally just like, this happened to me, it’s fucking totally embarrassing and tragic, but it made us giggle. So my brother improvised it and I shot it and we cut it together, and it went to Sundance and got written up as this innovative, groundbreaking film. [Laughs] Which is what we were trying to do the whole time before, but we were just doing derivative shit! The first time we actually winged something, and did something deeply personal, they called it innovative and groundbreaking and all this stuff. So that’s why I say that it’s so surreal and counterintuitive to me, because we’re not trying to be groundbreaking. We’re just trying to not make something that sucks. And I honestly feel like that is still what we’re trying to do. I know from talking to press now that we’re doing deeply personal stuff. That seems like a great revelation to have as an artist — that what actually works is doing things your own way and telling personal stories. Do you feel like that negates all those years of going to film school, all that stuff — could you have accomplished this at 20 if you had just let go and done things this way? I doubt it. Because it wasn’t a realization; it was an accident. It took me getting pounded down into nothing, and us having no money just picking up a camera saying, let’s just see if we can make something that doesn’t suck at this point. I really believe it had to happen this way. Or, it didn’t have to happen this way but this is the way it happened, you know? It’s only by talking about it in retrospect that we realize how it happened and why we did it. For us it was just the willingness to put our heads down and keep doing it. The struggling filmmakers of the world will be happy to hear that, I’m sure. Your work together with Mark is known for a consistent style, not only in your cinematic sensibility but in your process. Does this revelation give you more confidence in the way you work? Has it been easy to stick to your guns as you work more and more with studios? No, it wasn’t easy to transition. It just took a lot of steadfastness and a lot of conversations, honestly. Just a lot of care. Because a lot of people have this strange idea that we made Puffy Chair, we made Baghead, and then we just switched and did a studio film. But the reality is that after we made Puffy Chair we got tons and tons of meetings in L.A. because people wanted to take what we were doing and make it in the studio setting. That was 2005, when we premiered Puffy Chair at Sundance, and we didn’t release Cyrus until 2010. We developed a bunch of different projects during that time at different studios and it took basically five years, and Fox Searchlight, to feel comfortable enough to know that we were going to be able to make a movie and it wasn’t going to suck. We had other opportunities but we were going to be working in such crunched, or constricted, environments that we felt scared that we weren’t going to be able to do and offer what we thought we had to offer. So it was a very careful process, even hiring crew people on Cyrus; we interviewed everyone ourselves, which people don’t do, because we wanted to make sure people had the right intentions and the right vibes. Everyone had to like what we were doing before, because we don’t assume that everyone’s going to like our movies. They’re very specific, and we work in an unorthodox way. If people aren’t excited about what they’re making we don’t want it to be a drag for them, and consequently a drag on our process. We don’t really work in a framework of hostility and war, which most film sets are in my experience. We’re making movies about subtle, personal things and if the sets aren’t calm we feel like the subtle things can get lost. You two are a unique case in that regard. We’re just careful, because for us it’s not just about making a movie. We’re also lucky in the sense that we can always go and make a $50,000 movie and if it doesn’t suck we can sell it at Sundance for a lot more than that. So we rest very easy in our ability to make independent film, and not only that, we’ve really been fortunate and lucky that movie stars like what we do. We get a lot of phone calls and emails and messages from movie stars who are basically saying, ‘I don’t know what the hell y’all are doing over there but I like it and I want to be in it. And I’ll sleep on your sofa.’ For us that’s been very empowering to know. Because that’s where the real power lies, with distributing films: Having famous people in your movies, for better or for worse. But there’s a great advantage to it. When we’re on set it’s hard, what we do with actors is very painstaking and there’s a lot of chaos and a lot of confusion involved. [Laughs] What we have to go through to get what we get. But the upside of that is that people seem to be pretty attracted to acting in our movies. It probably allows actors to exercise muscles, and in different ways, than they do on more traditional sets. Yeah, and they get to have real moments. They get to do a whole scene all at once, which never happens, and to have a real moment with someone. It’s almost like being in a play, but it’s even better because it doesn’t have to be that controlled. You can let it rip and see what happens and if it doesn’t work out you can do it again. I think it’s a pretty rewarding, and exhausting, way to work. You filmed The Do-Deca-Pentathlon before Jeff Who Lives at Home, but we’ll see Jeff in theaters first. Why is that? The Do-Deca-Pentathlon we actually filmed before Cyrus. And right when we started editing Cyrus we got the greenlight from Fox Searchlight , because we had been developing all kinds of stuff and they weren’t going and it wasn’t ready, so we made Baghead, then we made The Do-Deca-Pentathlon, too. We got greenlit and we brought all of our crew over to Cyrus, and that included our editors. And everyone was thrilled because we were actually going to get paid real money for the first time. So we made Cyrus and we released it, and we got greenlit for Jeff Who Lives at Home immediately, which is the luckiest and most amazing thing in the world. So we made Jeff Who Lives at Home and when we finished editing Jeff we started back on The Do-Deca-Pentathon and we’re actually fine-cutting it this fall. When will it be released? I don’t know. I think it will be released sometime after March, because Jeff is released March 2. You mentioned being confident that you could always take a smaller movie to Sundance, so there’s a degree of security at least in that option. Definitely. And you know, we’ve always tried to remember to make movies, not meetings. So many of our friends have gotten caught up in developing something for six years and then they wake up like, “Shit, we haven’t made a movie in half a decade.” That’s crazy. In Jeff Who Lives at Home, Jason Segel plays a slacker hero-basement dweller, which brings to mind the Japanese phenomenon of hikikomori — grown single men who still live at home, a total psycho-social phenomenon. What’s behind Jeff’s psyche in your film? Well the movie is kind of inspired by us living in Austin, Texas and going to school there and watching a lot of really smart dudes kind of transfer out of academia into basements and efficiencies around Austin, Texas, engaging in philosophical thought and the nature of the universe, destiny, and their part in it all… and also potentially smoking some marijuana while doing that. A lot of people look at those dudes and call them stoner or slacker or laugh at them, and we do that too. But also, if you have breakfast with those dudes at like 7pm at a diner when they’re wearing their cargo shorts, you realize how intensely thoughtful they are and how conscientious they can be, and honestly, how idealistic and hopeful and radical they are, too. Mark and I are at the same time amazed, but also their lives are kind of sad and tragic. But they’re exciting and they’re exciting to talk to, and there’s that hopefulness there. So that’s what the movie’s about. It’s about one of these guys going out into the world and actually interacting with the universe, when his thoughts about his destiny begin to interact with the real world. That’s just exciting to us. Talk about perfect casting — how did Jason Segel get involved? We had known him a little bit socially, and Jason Reitman as a producer was involved. We were talking about how he’s kind of the perfect person to play this part. He read the script and just loved it, and we talked over dinner and knew we were going to make the movie. Jeff Who Lives at Home is schedule to hit theaters March 2. Tagged: afi fest, afi2011, baghead, cyrus, duplass brothers, jason reitman, jason segel, jay duplass, jeff who lives at home, mark duplass, puffy chair, savannah film festival, scad, the do-deca-pentathlon, this is john

Globomedia readies werewolf thriller 'Moon'

MADRID -- Spain's Globomedia, one of Europe's leading scripted TV producers, is readying two new dramas, "Luna, el misterio de Calenda" (Moon), and an untitled comedy set at a fashion magazine. A 19th-century werewolf thriller, "Moon" toplines Belen Rueda ("The Orphanage"), one of Spain's biggest box office draws, as a judge sent to investigate mysterious occurrences in the benighted village of Calenda. Spanish broadcast network Antena 3 will co-produce and air the skein in primetime. Series rolls next Monday. Imagina Intl. Sales, which is owned by the Imagina Group, a j.v. of Globomedia and Mediapro, will handle international sales. The big city-set, fashion world comedy will portray "normal people living in a sophisticated world," mixing "comedy and realism," and with "dialogue with edge, along the lines of Steven Bochco and Aaron Sorkin," said Daniel Ecija, Globomedia CEO. Globomedia will co-produce with Mediaset Espana for Telecinco. Series will shoot first quarter 2012. "Moon" rolls off Globomedia's runaway success in Spain, plus strong sales abroad, on 2006 mystery thriller "Boarding School," which notched up a 23% share in Spain, 2011's "The Boat" (which had a 17% share in Spain) and, above all, the 17th century-set caped crusader series "The Red Eagle," which was the number one fiction series in Spain for the last four seasons. Like this trio of hits, Globomedia's new series are high concept and break new ground for the local biz -- for example, Spain's never had a werewolf series -- and mix genres -- "Moon" has a teen romance story strand, with the judge's daughter falling for a local civil guard officer (Fran Perea). Both series will be budgeted north of Spain's average Euros500,000 ($688,000) an episode, though they'll stop short of "Eagle's" $1 million per episode. Globomedia is also producing with Antena 3 "In the Heart of the Ocean," a six-seg miniseries set in 1550. Shot in Cadiz, Bogota and Cartagena de Indias -- "Spain of the 16th century doesn't exist any more in Spain," said Globomedia's Alfonso Mardones -- "Heart" follows the first women to be sent to the New World to provide wives for settlers and spread the word of God throughout the region. The new skeins can also look for substantial sales. One Globomedia series, "One Step Forward," has sold to 60 countries, generating revenues of more than $27 million. In most recent sales, "The Boat" has sold to 23 countries, among them AXN Channel in Poland, Hungary and Russia, V-Me for the U.S. Hispanic market, Mexico's Televisa and Brazil's Globosat. International sales, which rep about 10% of revenues on most shows on average, will make up 20% on "One Step Forward," said Geraldine Gonard, IIS sales director. Ecija also unveiled Tuesday that Globomedia will team with Antena 3 Films to produce higher-bracket movie "Kazajo" (Kazak). The thriller will be directed by one of "Boat's" helmers, and has been scripted by several of "Boat's" writers, but the company declined to give further details. The screenplay is at fifth draft. The film is skedded to shoot next summer. Contact the Variety newsroom at news@variety.com

J.R. Martinez Takes The Lead As Maks & Len Mend Fences On Dancing

First Published: November 7, 2011 10:33 PM EST Credit: ABC Caption J.R. Martinez and Karina Smirnoff perform during Week 6 of Dancing with the Stars, Season 13, Oct. 25, 2011LOS ANGELES, Calif. -- Dancing with the Stars has become J.R. Martinezs world and everyone else is just dancing in it. On Monday, the Army veteran and former All My Children star trumped his competition by a mile, scoring the first perfect score of Season 13, and then, in the second Instant Dance round he scored the second, taking home a perfect 60 out of 60 points for the night. Oh my God, a flabbergasted J.R. said after earning his second 30 points on Monday, for an instant jive (the contestants were given their music during the live competition, giving them just half a show to rehearse their second number). I dont have anything to say. But the judges including notoriously tough judge Len Goodman had plenty. Youve got the X-factor and the feel good factor mixed together and youve come out here with the most fantastic jive, Len said. Carrie Ann Inaba said J.R., who performed with professional Karina Smirnoff, was in a class all your own. J.R. was inspired to achieve the marks after landing in the middle of the pack just last week, and he made his goal known to earn the first 30 from the first dance, which he performed earlier in the evening a gorgeous waltz, to What the World Needs Now Is Love. It was like a musical Valentine card, judge Bruno Toniolo commented. That first perfect score thrilled J.R., who couldnt help but grab the mic from show co-host, Brooke Burke-Charvet, after round 1. I want to thank my mom, God, everybody, thank you America, he said, laughing. Justin Bieber, I will never say never. J.R. with Karina bested his nearest celebrity competition by eight points. Landing in a tie for second were couples Ricki Lake and Derek Hough, and a much-improved Hope Solo with Maksim Chmerkovskiy. Surprisingly, Maks and Len even seemed to make amends, following their bust up earlier in the season. This was fantastic, Len said, brushing off light critiques of the pair from Carrie Ann and Bruno. It was everything a jive should be. So moved by the praise, Maks even went over and gave Len a kiss on the cheek. The Leaderboard for Nov. 7 was: J.R. Martinez and Karina Smirnoff took home 60/60 Ricki Lake and Derek Hough earned 52/60 Hope Solo and Maksim Chmerkovskiy also earned 52/60 Rob Kardashian and Cheryl Burke took home 51/60 Nancy Grace and Tristan MacManus earned 44/60 Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

'Martha Marcy' Filmmakers Sign First-Look Cope with Fox Searchlight

Borderline Films, the creative team behind the indie hit Martha Marcy May Marlene, has signed a 2-year start looking cope with Fox Searchlight.our editor recommendsMartha Marcy May Marlene: Film ReviewGotham Award Noms Visit 'The Descendants' and 'Martha Marcy May Marlene' The offer fortifies the text between your filmmakers and Searchlight, which acquired MMMM at Sundance and it is delivering it now in cinemas. FILM REVIEW: Martha Marcy May Marlene Borderline is composed of Antonio Campos, Sean Durkin and Josh Mond. Durkin authored the script for MMMM making his directorial debut around the drama. Campos and Mond behaved as producers together with Patrick Cunningham and Chris Maybach. MMMM, starring Elizabeth Olsen, won the dramatic feature pointing award at Sundance and continued to unspool in the Festival p Cannes, Toronto Worldwide Film Festival and NY Film Festival amongst others. Olsen has produced some Oscar buzz on her breakout performance. The principals call Searchlight "a perfect home" and the move takes their company to an alternative level. AUDIO: Sean Durkin Talks about 'Martha Marcy May Marlene's' Rare Journey Through Four Major Film Fests The second is unquestionably true, because it can give the organization-produced in 2003 and getting created several acclaimed shorts, music videos and features-a type of stability nearly impossible for indie filmmakers to locate. The offer should also actually calm among the greatest worries that indie filmmaker have-wondering what its next distribution outlet is going to be. Email: Borys.Package@thr.com Twitter: @Borys_Package Related Subjects Fox Searchlight Pictures Martha Marcy May Marlene

Dedicated to the one he loves

- NY, NY - 10/27/11 - NY Special Screening of Tribeca Film's Janie Jones Hosted by American Express. The film stars Abigail Breslin, Frank Whaley and Alessandro Nivola and is directed by David M. Rosenthal. -PICTURED: Keith Kjarval, David M. RosentAlessandro Nivola and Abigail Breslin; right, producers Keith Kjarval and David M. Rosenthal open in Gotham. It's quite a life story, and David M. Rosenthal had the guts to turn it into a movie, "Janie Jones." At Thursday's AMC Loews preem, the writer-helmer dedicated the Tribeca Films pic to his daughter, Julia Larson, now 23, whom he didn't meet until she was 11. "She's the reason I made this movie," Rosenthal said. "The idea of doing something so personal and so exposing was very intimidating to me." In Rosenthal's retelling, Alessandro Nivola is a musician who suddenly must care for his teenage daughter, played by Abigail Breslin. At the Gramercy Terrace after-party, guests were treated to solos by Breslin and Nivola, who is no guitarist novice, having played a lot in school. "Our most glamorous venues were college frat houses for toga parties," he recalled. "I have a distinct memory of a heavyset football player dressed in a toga pouring beer over my head while I was trying to find the chords to 'Magic Carpet Ride.' " Breslin is working on an album with a band called Cabb. Although she loves Fleetwood Mac, don't expect to hear a "Landslide" cover anytime soon. "I'd be terrified to cover that song because it's one of my favorites. Maybe one day," she said. Contact the Variety newsroom at news@variety.com