Babycall

An SF Norge (in Norwegian)/NFP (in Germany) discharge of a 4 1/2 Fiksjon, The planet pandora Film, BOB Film Sweden production. (Worldwide sales: the Match Factory, Perfume.) Created by Turid Oversveen. Executive producers, Marius Holst, Karin Julsrud, Hakon Overas, Friend Sletaune. Co-producers, Karl Baumgartner, Anna Croneman. Directed, compiled by Friend Sletaune.With: Noomi Rapace, Kristoffer Joner, Vetle Qvenild Werring, Stig Amdam, Maria Bock, Torkil Johannes Hoeg Swensen. (Norwegian dialogue)Friend Sletaune's photos are stylish and creepy, but "Babycall" needs additional time in script kindergarten. A tense tale of the paranoid lady eager to keep her kid from her violent ex-husband, the helmer's 4th feature sometimes feels as though a mix between "The Sixth Sense" and "Shutter Island," but too frequently utilizes a increased atmosphere of dread to spackle over holes that widen substantially upon considering the overstretched premise. Brisk sales (18 worldwide marketplaces and counting) will cheer mental-thriller fans, further attracted by star Noomi Rapace (the "Millennium" trilogy), who nabbed Rome's actress prize. A clearly put up-out Anna (Rapace) and her 8-year-old boy Anders (Vetle Qvenild Werring) get to a barren new apartment, wishing their whereabouts will stay unknown to Anna's ex, who attempted to drown the boy. Anna does not wish to let Anders from her sight as it were, insisting he sleep in her own mattress and just permitting him to visit school because social services will not allow her to train him in your own home. She buys an infant monitor (also called a babycall) from shy but solicitous salesperson Helge (Kristoffer Joner, star of Sletaune's "NearbyInch), making Anders happy since he is able to now sleep in the own room while remaining within earshot. But all of a sudden one evening, Anna is startled with a violent screaming match from the monitor she inspections on Anders, who's fast asleep. The following day at the shop, Helge reassures her the babycall should have acquired another person's monitor. It is a great premise: What parent would not be freaked out? Sletaune develops the environment of mystery, forcing auds to question the character of Helge's motives, the role of Anders' malevolent, inexplicable schoolfriend (Torkil Johannes Hoeg Swensen), and Anna's general frame of mind, even if she confesses to seeing things. All of this creates a superficial level, yet audiences inclined to consider when they watch will not have the ability to shake a nagging suspicion that they are being hoodwinked, notwithstanding the helmer's goal of conflating the actual and also the imaginary. Indeed, the copout resolution is not likely to fulfill anybody, along with a considered reflection around the various elements discloses a number of inexplicable MacGuffins more prone to induce exasperation than chills. Sletaune is skilled at conjuring taut situations having a balance of cold pictures and tight editing, but such motion picture products aren't enough to convince once the plot feels as though a cheat. Rapace keeps the edgy mood choosing her stressed-out perf, climax her moments of quiet vulnerability as opposed to the one-note tension that provide the role some depth. On top of that is Joner's calm playing, which defies tries to place Helge within the good or evil column before the very finish. Pictures feature diffused colors that tend toward frigid blues and grays, Scandinavian cinema's current default mode.Camera (color, widescreen), John Andreas Andersen editor, Jon Endre Mork music, Fernando Velazquez production designer, Roger Rosenberg costume designer, Ellen Ystehede seem (Dolby SRD), Tormod Ringnes, Christian Schaanning connect producers, Guttorm Petterson, Christoph Ott, Michael Weber line producer, Bent Rognlien casting, Celine Engebrigtsen. Examined at Rome Film Festival (competing), November. 1, 2011. (Also in Thessaloniki Film Festival -- Open Horizons.) Running time: 96 MIN. Contact the range newsroom at news@variety.com

Nick Junior. crafting mother-oriented content

Nickelodeon is creating a primetime programming block for Nick Junior., specific at moms and beginning next fall. NickMom will air seven nights every week at 9 o'clock, while using two several hours of content repeated at 11. The programming will originate from greater than 30 comedy, talkshow and gameshow projects presently in development and personalized to moms. Among people with projects which will be considered for NickMom are Eyeworks USA ("The Finest Loser") Madeleine Smithberg ("The Daily Show With Jon Stewart"), Annabelle Gurwitch ("Dinner together with a filmInch) and Hugh Fink ("The Late Late Show With Craig Ferguson"). General Mills and Reckitt Benckiser have formerly signed on as sponsors for NickMom, that is ad-supported while Nick Junior.'s kid-oriented content remains ad-free. Nick Junior. reaches 73 million houses. Though NickMom doesn't premiere round the smallscreen until next season, its companion website will launch Monday. According to Nickelodeon research via Nielsen, one-fourth of moms today seen Nickelodeon programs as children. "Current day moms who had been elevated with Nickelodeon have a very restored relationship around through their kids, therefore we have something on their own account as grownups in NickMom," Nickelodeon Systems prexy Cyma Zarghami mentioned. "This generation of moms is very unique of anybody before it, which we're very excited use a destination that's unique in current day entertainment landscape with content that taps into Nickelodeon's comedy DNA." Contact Jon Weisman at jon.weisman@variety.com

an hour Takes note of "America's Grouch-in-Chief" Andy Rooney

Andy Rooney an hour compensated tribute to Andy Rooney one next day of the longtime commentator died after complications from minor surgery. Morley Safer brought the segment, which incorporated highlights from Rooney's 33-year-career in the TV newsmagazine as well as an interview Safer did with Rooney. Andy Rooney dies at 92 Safer known as Rooney "America's grouch-in-chief" and America's watchdog because he looked back on Rooney's career before an hour - like his time writing for Arthur Godfrey's show. Safer also covered the good and the bad of Rooney's an hour tenure. High points incorporated his impassioned coverage from the Oklahoma bombing and also the Iraq war among the low points: his suspension in 1990 over "questionable findings" he earned about race and sexuality. Ultimately, Safer stated Rooney "truly were built with a wonderful existence" - a viewpoint shared by Rooney. When requested by Safer what he'd do if he could return and do existence once again, Rooney stated he'd attempt to access it an hour and perform a bit of their own each week.

It's Official: Nathan Lane to Star in USA Network Comedy Pilot

It's official: Nathan Lane will star in the USA Network comedy pilot from Douglas McGrath. Additionally, 30 Rock actor Cheyenne Jackson and Scrubs vet Ken Jenkins have joined the cast.our editor recommendsUSA Network Orders Two Comedy PilotsUSA Network Back in Business With 'White Collar' Creator Lane, who is already serving as an executive producer on the untitled project, will topline the half-hour effort. The single-camera project centers on Jasper (Lane), an unlucky actor whose Broadway aspirations must be put on hold when his father's health takes a turn for worse, forcing him to return to his Texas hometown. Jackson will play Tim, a handsome doctor who befriends Jasper in his Texas hometown. Jenkins will portray Jasper's father Burl, who lives by himself and drinks heavily as his health is fading. Oscar nominee McGrath will write, direct and executive produce the pilot from Universal Cable Prods. In its effort to enter the comedy space, USA will begin airing Modern Family repeats beginning in fall 2013. The McGrath project is one of two comedies the network has ordered pilots for, the other being Paging Dr. Freed. Lane is repped by ICM and Anonymous Content, while Jackson is repped by ICM and The Schiff Company. Related Topics Nathan Lane USA Network

Dennis Farina Tries on a New Suit in The Last Rites of Joe May

“There’s a great story about Clint Eastwood in Unforgiven,” said Dennis Farina, in NY recently to discuss his gritty, sensational aging-hustler drama The Last Rites of Joe May. “Clint Eastwood had that script for 15 years and he felt like he wasn’t ready to make it until he got much older, and he understood it better. I’m 68 now, so there’s a certain credibility that comes with just being 60 or 70 years old and your understanding of life.” In writer-director Joe Maggio’s latest film, Farina plays a completely different side of the tough guy we’ve seen previously — a title-role tour de force reminiscent of Mickey Rourke’s comeback in The Wrestler, this broken bull of a man with one last job left in him. On paper Joe May is an ordinary hustler, but the nuanced beauty of Farina’s performance — from his vulnerability to his slivers of humor — deepens the discomfort with each tired, regretful step he takes in Joe’s shoes. Perhaps it’s the hardened determination on the actor’s face, crafted over decades of playing seasoned detectives, gangsters and con men, that familiarizes Joe’s struggle to achieve greatness. In any case, it makes this work unlike anything you would normally expect from a character actor known for decades to step aside to let others shine. And if there’s anything jarring about that vulnerability, it’s seeing Farina as Joe, time and time again, looking for the greener pastures that he was never able to fully graze. “I think Joe is the eternal optimist,” Farina told Movieline. “Everything is a situation to him that he feels that he can overcome, and of course he can’t. He’s living in a time now where things have passed him by. In some of the niceties in life has gone away, which is a little sad. I always felt too if Joe had been successful he might have been one of the other characters that I’ve played in different movies. He might have been the guy in Snatch, but Joe never got over that hump.” We meet Joe May in the final stages of his career, checking out of a hospital after a seven-week battle with pneumonia. With his apartment sold to a single mother, and a failed relationship with his grown son, May has no one to turn to. “I liked the idea that when he came out of the hospital that no one was there waiting for him and he knew that,” Farina said, “and he just goes to this bar and finds out that everybody thought he was dead, which is kind of sad.” Despite it all, Joe continues his life as a hustler even though the world — and, more immediately, con boss Lenny (Gary Cole) — has already cast him aside. On screen it’s like seeing Farina try on the same suit, but with a much better, if unlikely, fit: One scene finds Farina desperately trying to sell lamb on a cold Chicago day, the weather painting the atmosphere desolate while Farina stands alone in the spotlight, where he should have been all along. As he pushes 70, the actor is finally able to distill the truths and tricks he’s acquired while shoring up films like Midnight Run, Snatch, Out of Sight, Saving Private Ryan, Get Shorty and scores of others (to say nothing of TV procedurals from Crime Story to Law & Order) for the majority of his career. It’s as though the performance is anchored in the experience of being underestimated, a key element that Farina plays up to. “It’s rare when you pick something up and you can just connect to it right away,” he said. “You read so many scripts, the good ones really pop out. It’s like a shining star in the sky. When I read it I knew it was different from anything else I have been involved in, and it came around at the right time in my life.” The layers exposed in The Last Rites of Joe May indicate a bright future — particularly in January, when Farina returns to TV in the Michael Mann/David Milch collaboration Luck. The HBO horsetrack drama co-stars Dustin Hoffman and Nick Nolte, bringing to mind Joe May’s lesson that the best surprises (his father-like relationship with his single mother roommate, for example) occur when he isn’t looking for them. The same could be said for Farina’s new profile and deepened perspective of the performance world. “I would just say that you have to be a little Joe May about it,” he said, almost as much for himself as for younger actors and, well, all of us. “Don’t give up, be an eternal optimist, and you’re going to have to learn how to have patience. Above all, probably a sense of humor about everything.” The Last Rites of Joe May is available now on VOD and opens theatrically Friday in NY.

A Night Time With...'The Descendants'

Duncan Stewart, director of casting at National Artists Management Company, discusses opening every submission and what he really wants to see inside a headshot. casting Duncan Stewart headshot NY city open distribution Duncan Steward, director of casting, discusses what he wants from an actress inside a general meeting, mainly truth, likability, and insufficient ego. advice casting Duncan Stewart NY city tips Duncan Stewart, director of casting, discusses what he needs from an audition and common mistakes stars make. advice auditions casting Duncan Stewart NY city Alaine Alldaffer stops working the actual role of the casting direcor. Alaine Alldaffer casting casting director Gray Gardens play stage theater Casting director Alaine Alldaffer discusses casting "Saved" and all sorts of the myths about becoming an actor in NY City. Alaine Alldaffer casting director New york city theatre play saved NY casting director Bernie Telsey describes what stars have to know before walking into an audition. (Part a couple of) Bernie Telsey casting director We spoken with casting director Mark Teschner about focusing on cleaning soap operas. (Part 1 of three) General Hospital Mark Teschner cleaning soap opera NY casting director Bernie Telsey describes how you can give your very best audition. (Part 2 of two) Bernie Telsey casting director We spoken with casting director Mark Teschner about focusing on cleaning soap operas. Only need beautiful people apply? (Part 2 of three) General Hospital Mark Teshner cleaning soap opera We spoken with casting director Mark Teschner about who audition for cleaning soap operas. (Part 3 of three) General Hospital Mark Teschner cleaning soap opera Videos for that Back Stage News & Features section.

Analyst: YouTube Channels No Immediate Threat to Entertainment Companies

NY -- YouTube's extended-expected channels initiative, the Google-possessed video site revealed at last late Friday, is not any immediate threat to entertainment companies, nevertheless it could grab some advertising dollars typically dedicated to TV and position Google just like a competitor as time passes, Barclays Capital analyst Anthony DiClemente mentioned inside some Tuesday.our editor recommendsHollywood Conglomerate Earnings Season: Ad Outlook, Digital Deals to remain in FocusYouTube Announces TV Initiative With 100 Niche Channels The report, entitled "Will YouTube's offering move the needle?," examined the planned launch near to 100 movie channels together with your stars as Jay-Z, Madonna, Shaquille O'Neal, Amy Poehler, Sofia Vergara and Tony Hawk, designed to make a next-generation video hub. "In the end don't think it becomes an immediate threat to art galleries, content companies or entrepreneurs at this time around, all of us do believe that is Google's starting point toward delivering an even more robust platform for properly produced independent content, and believe the move positions Google to behave just like a distributor in the bid toward taking incremental ad dollars that are typically specific at TV," DiClemente written. For media and entertainment companies, as time passes, "this creates a growing threat if this involves engagement, ad dollars and distribution, an incremental bidder for original content and also the other vehicle for clients to circumvent the conventional pay TV model," he informed. Ultimately, movie advertising might be the fastest-growing ad category online, which he projects it to build up 43 percent this season to $2 billion. "We're feeling YouTube comprises concerning the lion's share of individuals ad dollars with $1.6 billion this season,In . the Barclays analyst thought. "YouTube is exclusively situated here since it is unquestionably most likely probably the most seen movie property with 161 million unique audiences in September." Having its funnel launches, Google "becomes a significant player in independent short-form, properly produced content, and sets itself around be new media distribution platform and gain incremental ad dollars," DiClemente found the final outcome. BTIG analyst Richard Greenfield had mentioned in the blog publish on Monday the YouTube channels will be the latest premium movie offer that will compete for clients' attention similar to Netflix together with other movie companies. "We question if it will finish off becoming an adverse for current day leading/established content designers," Greenfield mentioned. "The normal U.S. household is watching over eight several hours of TV daily, and when you start to layer in the wide spectrum of content on the web, especially older content, we're feeling traditional television and movie content, especially fresh/live content, may take a hit.In . Related Subjects YouTube