Olivia Colman Takes New Steps in 'Tyrannosaur'

How does an actor with well-established comedic chops turn in a shattering performance in one of the year's darkest, most disturbing films? Olivia Colman says she did it in "Tyrannosaur" by doing what's real for her characterwith the help of a pitch-perfect script. "I didn't go anywhere different for it," Colman says. "You just go to where you need to go to do her justice." Her work in this film by writer-director Paddy Considine was dubbed the breakout performance at the 2011 Sundance Film Festival.One more breakout is coming her way, however. She more than holds our attention as Margaret Thatcher's daughter, Carol, opposite Meryl Streep in "The Iron Lady."But in "Tyrannosaur," Colman plays Hannah, a Christian woman who works in a thrift shop and who holds out a literal and figurative hand to the damaged, raging Joseph (Peter Mullan). Yet Hannah bears her own scars, caused in large part by her marriage to the monstrous James (Eddie Marsan). The film began life as Considine's short; in the feature film he expands Hannah's role to show her background and develop her relationship with Joseph.Back Stage: How did you meet Paddy Considine, and how did he cast you in this project?Olivia Colman: We met on a film called "Hot Fuzz." We met the first day of our rehearsals. I knew Paddy was coming, and I was so excited to meet Paddy Considine. And he came up the stairs, and I opened the door for him, and he said, "After you," and I went, "Oh, no, no, after you." And he says that at that point he thought, "Oh, right, she's the one for my short film." I'm so pleased I held the door open for him.Back Stage: How much time did you have to prepare your character for the short?Colman: I didn't. I read the script, but then I had to fly to Glasgow and do my scenes just in one day, because I was in the middle of a job. The short went down very well. It won a BAFTA for best short. After that, people were saying, "I want to know what happens with these characters." And then it was just about four years between the short and the feature. Back Stage: If there was no back story for Hannah, did you make one up for her?Colman: Everything was on the page. She worked in this charity shop; she was the only person who extended a hand of friendship to this man who most people would have walked to the other side of the street away from. I didn't need to know an awful lot more about that. I know lots of actors might disagree with me, but to me I just did what was on the page. She was a lovely, warm person. And when you come to the feature, she just shows herself as a lovely, warm person. She doesn't show what's going on, anyway, in her back story. It's unveiled during the course of the film. But I think it's right that she doesn't show everybody, and that's what's more interesting. And the whole film is about challenging perceptions: You make snap decisions, snap judgments about people, and you're invariably wrong. Looking at the film after you've witnessed what Joseph's done, you can't believe you can feel so differently. But I don't think you need to demonstrate everything, because that's not what people do. They keep their secrets, and they keep them well.Back Stage: Any other research?Colman: I went to this charity called Refuge, in the U.K., which tries to help victims of domestic violence. I talked to women who work for the charitynot to any of the women, or men, they helpbecause I couldn't promise I wouldn't cry. So they gave me a case study to look at, which was so shockinga hundred times worse than anything you saw onscreenand that was enough. I'll never get rid of that now, the horrible images from that. That was enough to inform what I thought Hannah was.Back Stage: What was Paddy's set like? Formal? Funny?Colman: Informal and very, very safe, very friendly. They're all funny people: Paddy, Eddie, and Peter. All lovely, warm people who tell funny stories and joke with each other. Also the crew. When you're feeling exposed when you're doing something, you don't want to hear someone giggling 'cause they're doing a private joke over there. No one did that [on this film]. Everyone was completely committed.Back Stage: What kind of rehearsals did you have?Colman: We had one day that had been put aside, before we started the shoot. Paddy and Peter and I sitting. But it ended up we didn't really talk about the piece at all. We ended up going to the pub and having a drink. The characters were already so whole, so multifaceted, so complete on the page, I didn't want to talk about it. It feels like you're taking the lid off the pressure cooker. If I can feel it, it's all there; please don't make me say it before we have to do it. I told Paddy, "I'm really nervous about rehearsing for this; I don't want to." And he felt the same. Because I felt it so deeply, I would be sobbing during a rehearsal. He said, "No, don't say a word. Roughly when you get to that point, where do you think you might go? [The camera will] just follow you and make sure we get it." That was lovely. It was liberating. Back Stage: What did you learn about acting while working on this film?Colman: There's a certain feeling I have a bit more now, which is I do deserve to be here. I always thought, "I'm going to be found out." I couldn't have done "Iron Lady" three years ago. I did "Iron Lady" three years after this, and I thought, "It's all right; I can hold my own," after Paddy giving me confidence like that.Back Stage: What did you learn watching Streep?Colman: She has a very strong work ethic. There is no ego; there's no vanity; there's no place for that. That's why she is so extraordinarily good at what she does. I don't want to? see the working behind a performance. To be; that's it. And to feel it. And laying on extra stuffI don't enjoy watching that. She takes what she needs to, to make that person real. People would have paid to sit there and watch her in the flesh doing it. And she was amazing, and you completely forgot that underneath the prosthetics she looked different. She became the person.Back Stage: In "Tyrannosaur," what was the most difficult scene for you?Colman: The one I was always terrified of, from the moment I got the script, was Hannah's breakdown. I was scared of doing it justice. I didn't want to let Paddy down. And he shot us chronologically, which was brilliant. Because he's an actor, he knows how important that is. So the whole journey, you've already done it. It makes your job very easy. There was [another] scene which didn't make it to the final cut. I think we all felt it wasn't working. Paddy kept trying. And then I traveled home for the weekend. And Paddy called me and said, "We're going to reshoot that scene." And I was so upset that I hadn't done it right, I've let him down, he'd taken the gamble. And then he says, "It wasn't you. I was saying all the wrong things, and I was directing it wrong." Which is sweet of him.Back Stage: And the one scene you wouldn't mind reshooting?Colman: The scenes I found hardest were the scenes that were re-creating the short. It was weirdit was like an echo. We did it four years previously, and I was trying to make it? fresh again now, but I could still kind of hear my own voice. I found those the hardest, which is why I wouldn't want to shoot them again, 'cause it would just get worse.Back Stage: What was your worst audition ever?Colman: It was for the Donmar [Warehouse, in London]. I was going to be meeting [casting director and creative associate] Anne McNulty, and I was so excited. Quite early on [in my career]. Wanted to be taken on by my agent. And the script had a lot of mention of camera shot things. And it was for the part of a whore. So I had a short skirt and tried to look as whorish as I couldor as I could bear. Got there, took my coat off, and she looked at me and said, "What do you think of the script?" And I said, "Oh, it's good." And she still looked puzzled. And then she said, "Should we have a little read?" And it wasn't the script that I'd been sent. It was for the part of a nun. We did laugh about it, but it was humiliating. And I didn't get that part.Back Stage: That's because the casting director had no imagination. By Dany Margolies December 30, 2011 Peter Mullan and Olivia Colman. PHOTO CREDIT Dave J. Hogan/Getty Images How does an actor with well-established comedic chops turn in a shattering performance in one of the year's darkest, most disturbing films? Olivia Colman says she did it in "Tyrannosaur" by doing what's real for her characterwith the help of a pitch-perfect script. "I didn't go anywhere different for it," Colman says. "You just go to where you need to go to do her justice." Her work in this film by writer-director Paddy Considine was dubbed the breakout performance at the 2011 Sundance Film Festival.One more breakout is coming her way, however. She more than holds our attention as Margaret Thatcher's daughter, Carol, opposite Meryl Streep in "The Iron Lady."But in "Tyrannosaur," Colman plays Hannah, a Christian woman who works in a thrift shop and who holds out a literal and figurative hand to the damaged, raging Joseph (Peter Mullan). Yet Hannah bears her own scars, caused in large part by her marriage to the monstrous James (Eddie Marsan). The film began life as Considine's short; in the feature film he expands Hannah's role to show her background and develop her relationship with Joseph.Back Stage: How did you meet Paddy Considine, and how did he cast you in this project?Olivia Colman: We met on a film called "Hot Fuzz." We met the first day of our rehearsals. I knew Paddy was coming, and I was so excited to meet Paddy Considine. And he came up the stairs, and I opened the door for him, and he said, "After you," and I went, "Oh, no, no, after you." And he says that at that point he thought, "Oh, right, she's the one for my short film." I'm so pleased I held the door open for him.Back Stage: How much time did you have to prepare your character for the short?Colman: I didn't. I read the script, but then I had to fly to Glasgow and do my scenes just in one day, because I was in the middle of a job. The short went down very well. It won a BAFTA for best short. After that, people were saying, "I want to know what happens with these characters." And then it was just about four years between the short and the feature. Back Stage: If there was no back story for Hannah, did you make one up for her?Colman: Everything was on the page. She worked in this charity shop; she was the only person who extended a hand of friendship to this man who most people would have walked to the other side of the street away from. I didn't need to know an awful lot more about that. I know lots of actors might disagree with me, but to me I just did what was on the page. She was a lovely, warm person. And when you come to the feature, she just shows herself as a lovely, warm person. She doesn't show what's going on, anyway, in her back story. It's unveiled during the course of the film. But I think it's right that she doesn't show everybody, and that's what's more interesting. And the whole film is about challenging perceptions: You make snap decisions, snap judgments about people, and you're invariably wrong. Looking at the film after you've witnessed what Joseph's done, you can't believe you can feel so differently. But I don't think you need to demonstrate everything, because that's not what people do. They keep their secrets, and they keep them well.Back Stage: Any other research?Colman: I went to this charity called Refuge, in the U.K., which tries to help victims of domestic violence. I talked to women who work for the charitynot to any of the women, or men, they helpbecause I couldn't promise I wouldn't cry. So they gave me a case study to look at, which was so shockinga hundred times worse than anything you saw onscreenand that was enough. I'll never get rid of that now, the horrible images from that. That was enough to inform what I thought Hannah was.Back Stage: What was Paddy's set like? Formal? Funny?Colman: Informal and very, very safe, very friendly. They're all funny people: Paddy, Eddie, and Peter. All lovely, warm people who tell funny stories and joke with each other. Also the crew. When you're feeling exposed when you're doing something, you don't want to hear someone giggling 'cause they're doing a private joke over there. No one did that [on this film]. Everyone was completely committed.Back Stage: What kind of rehearsals did you have?Colman: We had one day that had been put aside, before we started the shoot. Paddy and Peter and I sitting. But it ended up we didn't really talk about the piece at all. We ended up going to the pub and having a drink. The characters were already so whole, so multifaceted, so complete on the page, I didn't want to talk about it. It feels like you're taking the lid off the pressure cooker. If I can feel it, it's all there; please don't make me say it before we have to do it. I told Paddy, "I'm really nervous about rehearsing for this; I don't want to." And he felt the same. Because I felt it so deeply, I would be sobbing during a rehearsal. He said, "No, don't say a word. Roughly when you get to that point, where do you think you might go? [The camera will] just follow you and make sure we get it." That was lovely. It was liberating. Back Stage: What did you learn about acting while working on this film?Colman: There's a certain feeling I have a bit more now, which is I do deserve to be here. I always thought, "I'm going to be found out." I couldn't have done "Iron Lady" three years ago. I did "Iron Lady" three years after this, and I thought, "It's all right; I can hold my own," after Paddy giving me confidence like that.Back Stage: What did you learn watching Streep?Colman: She has a very strong work ethic. There is no ego; there's no vanity; there's no place for that. That's why she is so extraordinarily good at what she does. I don't want to? see the working behind a performance. To be; that's it. And to feel it. And laying on extra stuffI don't enjoy watching that. She takes what she needs to, to make that person real. People would have paid to sit there and watch her in the flesh doing it. And she was amazing, and you completely forgot that underneath the prosthetics she looked different. She became the person.Back Stage: In "Tyrannosaur," what was the most difficult scene for you?Colman: The one I was always terrified of, from the moment I got the script, was Hannah's breakdown. I was scared of doing it justice. I didn't want to let Paddy down. And he shot us chronologically, which was brilliant. Because he's an actor, he knows how important that is. So the whole journey, you've already done it. It makes your job very easy. There was [another] scene which didn't make it to the final cut. I think we all felt it wasn't working. Paddy kept trying. And then I traveled home for the weekend. And Paddy called me and said, "We're going to reshoot that scene." And I was so upset that I hadn't done it right, I've let him down, he'd taken the gamble. And then he says, "It wasn't you. I was saying all the wrong things, and I was directing it wrong." Which is sweet of him.Back Stage: And the one scene you wouldn't mind reshooting?Colman: The scenes I found hardest were the scenes that were re-creating the short. It was weirdit was like an echo. We did it four years previously, and I was trying to make it? fresh again now, but I could still kind of hear my own voice. I found those the hardest, which is why I wouldn't want to shoot them again, 'cause it would just get worse.Back Stage: What was your worst audition ever?Colman: It was for the Donmar [Warehouse, in London]. I was going to be meeting [casting director and creative associate] Anne McNulty, and I was so excited. Quite early on [in my career]. Wanted to be taken on by my agent. And the script had a lot of mention of camera shot things. And it was for the part of a whore. So I had a short skirt and tried to look as whorish as I couldor as I could bear. Got there, took my coat off, and she looked at me and said, "What do you think of the script?" And I said, "Oh, it's good." And she still looked puzzled. And then she said, "Should we have a little read?" And it wasn't the script that I'd been sent. It was for the part of a nun. We did laugh about it, but it was humiliating. And I didn't get that part.Back Stage: That's because the casting director had no imagination.

Prisa stretches $4 bil debt payment

MADRID -- Prisa, controlling investor of Spain's greatest pay TV platform, Digital Plus, has closed an offer with creditor banks to increase re-payment close to Euros2.92 billion ($3.8 billion) indebted to March 2014 in the earliest. Maturity on the $2.6 billion bridge loan, initially designed to Prisa in 2007 with a seven-bank syndicate brought by HSBC, is going to be put to The month of january 2015. Another syndicated loan is extended to March 2014, or December 2014 if Prisa sells bonds or its 17% stake in Mediaset Espana, Bloomberg recommended. Agreed with 35 banks, your debt extensions repetition an essential election of market confidence in Prisa, among the greatest media congloms within the The spanish language-speaking world, that also is the owner of The spanish language newspaper El Pais, radio network Cadena Ser and Portuguese TV holding Media Capital, who owns broadcaster TVI. As Prisa initiates what it really known as now a "growth policy," one affect from the loan extensions might be an increased appetite to find the best-notch product at Digital Plus, whose consumer base has languished around 1.8 million customers recently. "Prisa includes a obvious resolve for Digital Plus. It'll now make an effort to improve its content, some way," forecast one analyst. This Feb, Digital Plus acquired The spanish language privileges to choose UEFA Champions League soccer games for the following three seasons. Contact the range newsroom at news@variety.com

Edward Burns on 'Newlyweds' and not able to Indie Filmmaking

With this particular tenth film just like a director, Edward Burns went small. Small. The NY-born filmmaker behind 'The Brothers and sisters McMullen,' 'She's the One' and 'Sidewalks of NY' purchased a Canon 5D camera from B&H electronics store for $3,000, used restaurants and street corners from our Tribeca neighborhood as locations, and cast some frequent collaborators in key roles. Yet another $6,000 later, 'Newlyweds' was produced. Directed by Burns, simply for your tenth anniversary in the Tribeca Film Festival, 'Newlyweds' focuses on some NY couples: one at the outset of whatever they hope will probably be wedded bliss (Burns and Caitlin Fitzgerald), then one inside the dying cycle of marriage (Max Baker and Marsha Dietlein Bennett). Things get difficult when Burns's half-sister (Kerry Bishe) appears from out-of-town, searching to ruin his new relationship. On VOD beginning 12 ,. 26, 'Newlyweds' is among Burns's most effective films inside a very long time -- an incredible combination of sharp comedy and honest drama that, within the best moments, fondly recalls the type of NY-set relationship dramedies that Woodsy Allen familiar with make prior to going to Europe. Burns, who'll appear onscreen in 'I, Alex Cross' opposite Tyler Perry next season, sitting lower with Moviefone in NY to talk about his new film, why the digital camera equipment am crucial that you its success, and the way not able to filmmaking could involve your couch. I've heard you discuss how shooting while using Canon 5D camera gave those to you instantly natural performances -- was that something you're expecting or possibly it had been enjoyable surprise? Somewhere among. That which you were trying to complete wound up being to choose your a little. We're able to not have the ability to close the restaurants lower. And then we were enjoy, "Okay a documentary film crew -- once they would interview the bartenders or sit lower getting a few getting dinner, they'd make use of the ambient appear as well as the live atmosphere." And then we thought, "Let's do that using this pseudo-doc." We managed to get happen on one scene on 'Sidewalks of NY,' in Katz's Deli. To start with, you can't recreate that kind of background action, as well as the ambient appear is ok. And then we thought, "Let's embrace that." The main one factor that happened that individuals did not anticipate is, because the crew is actually small -- but, furthermore compared to that, the digital camera is actually small -- you aren't slating anything. What I've been trying to inform people is, with an actor, every time they will execute a take, a slate makes their face. Then related to feelings . act opposite someone. Maybe it's a detailed-up, there's a camera over my shoulder. Clearly, you are trained, you learn how to not realize that stuff, there's however a boom coming, together with a camera, an military behind it. The director calls cut. Your hair person will come in. Make-up. Props. Clothes. Everything stuff. five to ten minutes later: "Okay, take two." In this way, it's just this little camera. There's very little else around. You're just wearing these lavalier mics. There's no lights. You're in the real atmosphere. There's no action. "Everybody ready? Let's go." You just roll using the scene. Then, you roll through it again. It's like, "Hey, back that up maybe get a different line here." Eventually, you kind of did not remember ... I'd rather not condition that you're in the movie, nevertheless it was certainly just like you wound up into another space. This is why we have got this realistic or conversational moments. This certainly feels as if a companion piece to 'Sidewalks of NY,' which showed up in this area 10 years ago. Why managed to get happen enable you to get this type of very long time revisit this format? My creating partner Aaron Lubin and I have been speaking relevant for this for any very long time: what's the next pseudo-doc? I probably authored two others. One of these simple was set on New You are able to that was referred to as 'Blue Suburban Skies' that individuals almost shot a couple of years back. For reasons unknown we just didn't think the script was there. It absolutely was a thing that I desired to accomplish. Plus, since i have make these poor -- now micro budget -- films, people budgets lend themselves for the pseudo-doc style. Now, I've fallen deeply deeply in love with this 5D. So, In my opinion, every other film, I'll probably wish to return, due to there being something nice about just getting a chance to go anywhere with this particular factor and acquire all this great production value. Is 'Sidewalks' your chosen film you have done? I'd say 'Sidewalks' now this film, are my two faves. This film was more fun to produce. Right before that, 'Sidewalks' was the most popular understanding about stars Stanley Tucci trained us a great deal about getting belief within your cast. Once I labored with Steven Spielberg on 'Private Ryan,' for just two days, we was without any direction whatsoever. We're doing two, three takes tops, then continuing to move forward. Finally, 2 days inside it, there's a scene where he's like, "Produce another. Produce another.In . Then he started to supply us direction. After seven takes, we first first got it done, which we finally asked for him, "Why today?" He goes, "Well, today you didn't know what is you're doing." He referred to his process: "I'll let everybody decipher it having your own business. I'm not likely to show you -- I'm not going to offer you direction following a first take. I don't wanna put any kind of my ideas within your mind. I figure you have carried out you're work, you've come prepared. If you don't get it the first time, you'll probably hit everything you designed to do with the third one. If you don't, then I must a part of.In . So, originating from 'Ryan,' I used to be like, "OK, that's the way i am prone to direct my stars." Plus it was liberating. Another factor was I cast to types. So, it's like, "I get you in because I really like everything you do. I wish for you triggered because of your factor throughout my movie." On that film, I didn't have to direct anybody. After which it Stanley, was the initial actor really -- aside from Mike McGlone, who I'd labored within early films -- who's so excellent at inhabiting the level of smoothness and improvising within the scene. Relating to this film, we did plenty of improvising, but we didn't appear without any scene and say, "OK, males: talk!" It's like, "Okay, the scene starts here and finishes here let's run the lines, but within that, look for the moments that aren't there. Or, when the scene seems like it will finish, push it a couple of beats later and discover what you're getting.Inch You have been a champion of VOD lately -- you might not think that's not able to independent film? A few things that we just heard. Comcast will release a thing that states in the last 12 several days, indie film viewership on VOD has hopped seventy five percent. So, that notifies me this content we've been preaching throughout the final number of time ... individuals have it. The crowd will there be. They are inside their living room. They accustomed to go to the art-house theater. It's not that they're not considering these tales any more, they just aren't considering shlepping out and needing to spend the money for additional dollars when they have been a enjoyable system in your house. I absolutely believe it is the near future -- particularly for that smaller sized independents. Since you will get provided with a very small marketing budget. For that way much cash you'll probably fund your film, you can now create a enterprize model where you stand not losing profits. I don't wanna say you are receiving wealthy. Some films aren't can make money. However when your'e smart relating to this and tenacious, there's an chance to interrupt even. It's a lot to make a movie theatrically by simply P&A costs that you're always behind the 8-ball financially. You're almost sure to generate deficits. Another factor is, by venturing out on VOD and iTunes, especially, you'll be able to day an aggregator rather than a distributor. There's now a method to retain your copyright -- or just lease it on their behalf for any couple of years -- and extremely play in the cash that's coming. Theatrically, Let me tell you, we've had films where we have to have observed some post sales, and nevertheless they are doing their accounting, I guarantee you aren't getting it. What about bigger indies -- something such as 'The Descendants,' let's say. Is it possible to picture an issue where that ever eventually ends up on VOD first? 'Margin Call' is definitely an very interesting situation this year. Because there's a film filled with celebs. Like, celebs that typically would open in the theater. That did VOD and theatrical day and date, which most of them avoid. Plus it labored great. Now people say, "Okay, and so the VOD will not cannibalize theatrical. They are two separate audiences. You'll find people who just don't go to the theater, and you'll find people visiting the theater. Which means you should not panic of all of them.In . So, to resolve the question about will the bigger indies -- I have a look at just what the theatrical box office results for most these indie films that can come out. Now, granted, 'The Descendants': it's Alexander Payne. It's Clooney... Huge indie. Huge indie. The large many of them, in the event you continue The Amounts or Variety, it's very tough of those movies to produce even $millions of or $2 million. And you know what happens they need to spend to acquire them available. So, I realize some filmmakers will say, "Hey, it is not a movie unless of course obviously it's released theatrically. I'm a moviemaker. I'd like the thrill of the.In . I certainly obtain that. In my opinion at the beginning of my career I might have been devastated to think about my movie was going straight onto VOD. But, what we should did, is that you may bring them to festivals. And you also have the thrill of seeing it carried out as you're watching audience around the massive screen. Generally, if you're doing festivals, you're in much better theaters in comparison to Angelika. Perhaps you have wanted to produce a large studio film? In the past, they found me with mainstream romcoms, which -- and that i must admit -- I used to be very tempted to accomplish one. After which it I merely required to obtain that soul-searching moment, where I'm like, "Okay, should i be prone to sellout, I'd rather become not possible becoming an actor when compared to a filmmaker." And i'm lucky because I have that other career where I am in a position to sell myself. I used to be gonna condition that. Can you view your acting career for an finish? Absolutely. The acting career is certainly -- which i love it, and frequently you obtain lucky and you are able to keep a great movie. But, typically, it's fun to make use of other stars. It's fun will be able to exercise people muscles. It's also great to demonstrate on anybody's set. Like, 'Alex Mix,' I began use Make the most of Cohen, who's a great action filmmaker. Which he wasn't coping with the size or budget he was utilized to -- it wasn't a real $100 million movie -- therefore i could visit school by having an action director. Personally, just like a filmmaker, that was interesting. I have no fascination with ever pointing anything as being a traditional blockbuster. Sci-fi movie. Superhero movie. Not always my factor. I have got a number of scripts that are bigger canvases, where I'd need -- let's say -- $15 to $25 million, but that's where I'd be preferred. [Photo: Getty] Follow Moviefone on Twitter Like Moviefone on Facebook

'The Avengers 3D': Your Superheroes Will Be Offered in 3d

Most apparent news during the day (or, really, only news during the day), would go to Disney, who've formally transformed the title of next summer's 'The Avengers' to 'The Avengers three dimensional.' Yes, Iron Guy, Thor, the Hulk, Captain America and Loki all will be publish-changed into three glorious dimensions once the super hero blockbuster hits theaters on May 4, 2012. 'The Avengers' stars Robert Downey Junior., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Tom Hiddleston and Samuel L. Jackson. Also, Stellan Skarsgard, who had been unhappy about his role. [via Deadline] Follow Moviefone on Twitter Like Moviefone on Facebook

Britney Warrior warrior spears Is Engaged!

First Launched: December 16, 2011 12:12 PM EST Credit: Getty Premium Caption Jason Trawick and Britney Warrior warrior spears cope with towards the 28th Annual MTV Video Music Honours at Nokia Theatre L.A. Live in La on August 28, 2011LOS ANGELES, Calif. -- Britney Warrior warrior spears and Jason Trawick are likely to ensure it is official! Jason confirmed to get into Hollywoods Billy Rose rose bush the happy couple will rapidly be headed lower the aisle. Yes, we are engaged, Jason told Billy on Friday. The 40-year-old added that he's inside the moon, as [is] she. Britney made an appearance to hint within the engagement news on her behalf account Facebook page on Friday morning. OMG. Last evening Jason surprised me while using one gift Ive been waiting for. Cant wait tell you! she written. SO SO SO excited!!!! Xxo Jason initially began coping with Britney as her TV manager (because the star had been married to Kevin Federline), employment he put within the towel this past year after their relationship increased being romantic. In October, Britney dropped her Criminal music video, through which her now-fiance plays her hero, saving the star from an abusive guy at who slaps the pop star inside a highbrow party. The present-day Bonnie and Clyde musical adventure is full of various criminal functions intermixed with steamy shower moments, and culminates in the massive slow-motion shootout while using police as Britney and Jason lock lips in the blaze of bullets, then escape using the streets located in london. The imminent wedding will be the third time the pop princess has mentioned, I really do. Britney infamously got married childhood friend Jason Alexander within the month of the month of january 2004 in the Las vegas marriage that was annulled within 55 several hours. The Up To The Planet Finishes singer married Kevin Federline later that year, nevertheless the two divorced in 2007. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

ABC Cancels 'Extreme Makeover: Home Edition' (Exclusive)

Prashant Gupta / FX FX and Sons of Anarchy creator Kurt Sutter have prevailed in a lawsuit filed by an ex-Hell's Angel biker who claimed the idea for the hit drama series was stolen.our editor recommends'Glee,' 'Sons of Anarchy' Added to Amazon Prime Instant Video Streaming Service'Sons of Anarchy' Creator Kurt Sutter on Season 4's Bold Finale and Season 5 PlansFurious 'Sons of Anarchy' Creator Tells DirecTV Viewers 'You're Getting F---ed Over'; Reveals Banned Script Chuck Zito sued FX for $5 million in June 2010 claiming he had developed a show called Nomads (later The Wild Angels) and had agents at ICM set up a pitch meeting in 2004 with FX chief John Landgraf, during which Zito says he discussed ideas for a show about a motorcycle club. FX passed on the project but later developed Sutter's Sons, which ICM packaged and recently concluded its 4th season as a big hit for the network. "FX was obligated to pay Zito the reasonable value of his ideas, hire him to work on the series and afford him screen credit as creator," the lawsuit alleged. "Defendants breached an implied-in-fact contract with defendant." VIDEO: 'Sons of Anarchy': Ron Perlman Says Season 4 Was a Challenge At the time, Sutter took to his twitter account to blast the lawsuit, saying: "HAVING THE F***ING IDEA IS NOT THE SHOW. THERE HAVE BEEN DOZENS OF OUTLAW MOTORCYCLE TV DRAMAS PITCHED IN THE LAST TEN YEARS. NONE OF THEM HAS MADE IT TO SERIES, EXCEPT SOA. BECAUSE THEY SUCKED." STORY: 'Sons of Anarchy' Creator Kurt Sutter on Season 4's Bold Finale and Season 5 Plans Today a Los Angeles Superior Court judge agreed, ruling on summary judgment that Sons was independently created and Zito doesn't have a case. The judge relied on declarations submitted by Sutter, Landgraf and talent agent Matt Solo (now with WME), among others, showing Sutter's development process and the fact that Sons was pitched to several networks, including HBO and AMC, before arriving at FX, which bought the project in a bidding war. The judge saw no reason for the case to continue past the summary judgment phase. We've reached out to Zito's attorneys for comment. FX is represented by Scott Edelman at LA's Gibson Dunn firm and Rick Stone at Jenner & Block. Email: Matthew.Belloni@thr.com Twitter: @THRMattBelloni PHOTO GALLERY: View Gallery 'Sons of Anarchy' Red Carpet Premiere

The Dictator Teaser Trailer Lands

Sacha Baron Cohen in a helluva big beardThe first trailer for Sacha Baron Cohen's The Dictator has arrived, and it is offensive. Just the way you (possibly) like it.Billed as the cinematic adaptation of Iraqi romance novel "Zabibah and the King" by Saddam Hussein - yes, that Saddam Hussein - it differs greatly from the source text, portraying Baron Cohen as a foreign dictator who comes to America to learn a thing or two.Learn a thing or two, and, um, sleep with Megan Fox in exchange for some precious jewels and zipline between buildings for no apparent reason.Unlike Bruno and Borat, it's not a mockumentary, but it is directed by the same man: legendary Seinfeld writer Larry Charles.As for the trailer itself, it's definitely not vintage Baron Cohen. The jokes feel a little tired, the casual rascism a touch too casual, a touch too rascist.Still, as he's playing dual roles in this one, we're only seeing one side of the coin at this point, so perhaps a few trailers down the line things will look a little different.Anyway, take a look for yourself and let us know what you think. Does Sasha have another Borat-sized smash on his hands or a another Ali GIndahouse?Let us know in the comment box below.The Dictator, which also stars Anna Faris and Sir Ben Kingsley, is out May 18, 2012.

Would You Pay $5 to Fund a Movie?

Fans of stand-up comedian / television auteur Louis C.K. were treated to a unique interaction on Monday with the Emmy-nominated funnyman; he participated in an open Q&A on reddit.com, covering as many topics as possible, from his comedic influences to his religious beliefs. One of the reasons he was participating in the event was to promote his newest stand-up special, 'Live at the Beacon Theater,' which he is distributing on his own, via his website; you can download his new concert for a low price of just FIVE dollars. When a fan asked him if he had any plans to make a movie, C.K. explained that the difficulties of the film industry prevent him from trying to work within the system. However, he also admitted that he hopes this cheaply-sold, Internet-only concert special is successful enough to change the traditional approach to filmmaking -- and if his idea pays off, it might give you, the audience, even more control at what kind of movies are made by Hollywood. Louis C.K.'s only cinematic outing so far has been the cult comedy 'Pootie Tang'; when asked if he had any plans to make another movie, the comedian responded: I would love [to] make more movies. That is a F---ING HARD JOB though, dude. Just to get it made. You can't even do anything else while you're [trying] to get it made and then you probably won't. It's heart breaking. Then it takes a good 2 years to make and finish the movie then it maybe won't come out and then maybe it gets changed and worse than the movie not getting made, you made it, then it got changed into something you hated and then came out. ... if i can get a deal to make a movie the way I do my show, i'll do it. Otherwise... no. That despair seems pretty commonplace for an industry that is suffering from slumping box office revenue in the wake of a depressed economy; with Hollywood struggling to find profitable hits, they can only afford to make the safest movies possible, designed to appeal to the widest audience possible. But eventually that audience grows tired of having the same type of movie shoveled into the mouths and they just stop going to theaters. In turn, the movie industry has to play it even safer, creating a vicious cycle of diminishing returns. But in addition to his blunt honesty, C.K. also reveals an audacious plan: I have a dream, though. You want to hear it? Yeah? Well, okay. I thought about what if I make another special like this one and i put it up for 5 bucks again and it goes gangbusters. It makes, say, 8 million bucks. I don't know that that is even possible. I'm trying to find out what the potential is with this one. But so if I make 8 million, which all goes through paypal right into Pig Newton, my company that makes my show and made the special. Well I would leave the money in there and make a f---ing movie. In the reddit thread, hundreds of fans pledge to pay five dollars to the special, hoping to pay it forward to give him the money he needs to produce a movie on his own terms. While it's yet to be determined if his still-fledgling plan will pay off, it's worth considering: if this critically acclaimed, but still-under-the-radar comedian can rally enough fans to help pay for the kind of the movie they want to see, will more people start making movies that way? All you have to do is look on KickStarter any day of the week to see a variety of artistic projects, including movies, successfully achieve funding. Audiences are willing to donate reasonable amounts to an artist/entertainer if they believe in the project and an organization like KickStarter keeps all the finances accountable, allows you to track how many other people are donating (in case you feel nervous parting with your money) and even offers you unique price incentives for helping out. This upcoming Sundance Film Festival will showcase fourteen films funded through KickStarter audience fundraising. 'Keep the Lights On,' competing in the U.S. Dramatic Feature category, was able to secure its $25,000 goal with a majority of donations priced at no more than 50 dollars. With the weekend's terrible box office, the sure-things are coming fewer and farther between for actual crowd pleasers. We've heard your comments, and it's clear you don't think the movies are worth the ticket price. If producers, writers and directors were making the exact kinds of movies you wanted to see -- but you had to donate, say five or ten dollars, just to get that movie made, would you fund it? There's no better way to make your point in a capitalist society than to vote with your dollar. Would you help fund a movie through online fundraising?YES! I want to stick it to Hollywood -- they have no idea what kind of movies I like! Support new artists!Only if it is being made by an already-famous celebrity that I can trust.Only if I get to read the script.They would have to offer really unique prizes, like an on-screen credit or tickets to the premiere.NO! Even one dollar is too much for those overpaid hacks. I hate movies & want them to go away!Vote Follow Moviefone on Twitter Like Moviefone on Facebook

Winona Ryder To See Killings Wife In Indie The Iceman

EXCLUSIVE: Winona Ryder just devoted to star with Michael Shannon and Chris Evans inside the Iceman, the Ariel Vromen-directed drama using the Anthony Bruno book about Richard Kuklinski, a family group guy who independently completed contract killings for your mob. Millennium Films/Nu Image is financing. Shannon is playing Kuklinski, also called The Iceman, and Evans is playing his mentor, Robert Pronge. Ryder, most recently noticed in Black Swan as well as the Dilemma, may have Kuklinski’s wife, Deborah, who were not sure he will be a contract killer. Gersh-repped Ryder just wrapped the indie The Stare opposite James Franco.

CBS buys independent Gotham station

CBS has pacted to buy another station in NY City, WLNY. It isn't a large station, as Wells Fargo analyst Marcy Ryvicker stated the independent WLNY produced $3.8 million in revenue this year -- under 1% of total revenue for that country's biggest market. The deal weren't revealed. However the acquisition gives CBS a duopoly in Gotham, something the broadcaster stated "presents a significant chance for the Tv producers division," based on an estimate credited to division prexy Peter Dunn inside a statement from CBS. "Our plans for that station include adding people and assets to fuel a substantial growth of local news programming well past the nightly half-hour that presently airs," Dunn stated. WLNY is CBS's tenth duopoloy other marketplaces with two CBS stations include La, Philadelphia, Dallas, Bay Area, Detroit, Miami, Sacramento and Pittsburgh. Ryvicker stated the move likely increases margins for that market, and in addition it provides another base for local CBS news deck hands. The Melville, N.Y.-based WLNY is definitely an independent station serving the majority of New York, including Nassau and Suffolk areas, and stretching into areas of Nj and Connecticut in addition to NY. Contact Mike Thielman at mike.thielman@variety.com

Starz Launches 'Spartacus' Facebook App

NY - Apple could launch the third generation of its iPad as early as February - sooner than expected, the NY Post said, citing reports.our editor recommendsAdele Is iTunes' Top Seller in 2011, Foo Fighters' 'Wasting Light' Named Album of the Year by Apple Staff Disney CEO Robert Iger Buys $1 Million of Apple Stock The iPad 3 could hit stores on Feb. 23, a day before what would have been founder Steve Jobs' 57th birthday, it said. Previously, observers have suggested a March or April introduction. The new iPad will feature a so-called "Retina Display" with twice the resolution of current models of the tablet, the Post cited Citigroup analyst Richard Gardner as saying in a research report. The paper mentioned though that some observers have suggested the iPad 3's could be delayed. Instead, Apple could in the spring introduce a "Mini iPad" as an initial response to Amazon's Kindle Fire tablet that hit stores last month. Email: Georg.Szalai@thr.com Twitter: @georgszalai Related Topics Steve Jobs Apple

Iraq War Vet Ordered to Pay $187,000 in Failed Lawsuit Against 'Hurt Locker' Producers (Exclusive)

Dimitrios Kambouris/Getty ImagesEddie Murphy Eddie Murphy may be headed back to the small screen.our editor recommendsTHR Poll: Oscar Viewers Prefer Eddie Murphy Over Billy Crystal as Show HostHow Much Will Eddie Murphy's Oscar Exit Hurt His Career? (Analysis)Eddie Murphy, Drew Barrymore Top List of Overpaid Actors HBO Films is developing an untitled television biopic centered on former Washington D.C. Mayor Marion Barry, whom Murphy would play should the project move forward, a source confirms to The Hollywood Reporter. Spike Lee is attached to direct with John Ridley(Red Tails, Da Brick)to pen the script. Murphy, Lee and Ridley would all serve as executive producers as the Washington Post first reported. Journalists Harry Jaffe and Tom Sherwood have been tapped to consult, along with The Nine Lives of Marion Barry filmmakers Dana Flor and Toby Oppenheimer. Jaffe and Sherwood penned a book published in 1994 entitled Dream City detailing politics in D.C. Barry served as the D.C. mayor from 1979 to 1991 and again from 1995 to 1999, and is currently a member of the D.C. City Council representing the city's eighth ward. In January 1990, Barry was caught smoking crack cocaine at the Vista International Hotel in downtown and was arrested on drug charges, serving six months in prison. Eddie Murphy Spike Lee

Smoke & Bone Daughter Adopted

Laini Taylor novel to start franchiseWith only one more Twilight film to go, everyone's on the look out for the next big paranormal romance to entice the tweens and the moms and the grannies into pan-generational emo family cinema outings. At Paramount, top of the wish-list looks to be Daughter Of Smoke And Bone, Laini Taylor's twisted kids' novel of angels and demons and forbidden love in Prague, which the studio is negotiating to pick up for a reported six-figure sum.The book, published in September and intended as the first in a series, revolves around 17-year-old art student Karou, who has tattoos and knows kung-fu, and has genuinely blue hair (i. e. she doesn't dye it: it grows blue out of her head). Her background is a mystery, and she has been adopted and raised by demons - "Chimaera" - who occasionally require her to go on errands through portals and collect teeth.Teeth.On one of these missions she encounters the angel Akiva, who's been tasked with putting a stop to the illegal supernatural denture trade, but who doesn't kill Karou because she reminds him of his lost love. And their burgeoning affair coincides with the appearance all over Prague of a black-hand symbol, heralding a war between the cosmic forces of good and evil.The book's first lines are "Once upon a time, an angel and a devil fell in love. It did not end well." It doesn't quite turn out like Preacher though.Large-canvas stuff then, but grounded in a gothic romance. And that's precisely what piqued Paramount's interest. Deadline report that the studio was willing to fight for the property, for its "potential for big-scale, visual effects-driven fantasy that can connect with a young audience", not to mention its likely expansion to franchise size.It doesn't sound as if the deal is quite done, but it's firmly on the table. We'll keep you posted. The novel is currently available in the UK in hardcover from Hodder and Stoughton.