Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Warner Bros. takes home Oscar gold, sales boost for “Argo”

LOS ANGELES (Reuters) – Time Warner Inc‘s Warner Bros. basked in the golden glow of coveted Best Picture Oscar for its Iran hostage drama “Argo” on Sunday, giving the Ben Affleck film a likely boost for its ticket and home entertainment sales.

Hollywood‘s big night often proves a boon to studios that take home Oscars, and this year the haul was spread among several major film companies.

Among the Best Picture competitors, shipwreck drama “Life of Pi” from News Corp’s 20th Century Fox studio earned the most awards – four – including Best Director for Ang Lee.

“Les Miserables,” made by Comcast Corp’s Universal Pictures, secured a Best Supporting Actress win for Anne Hathaway and two others.

Besides grabbing the big prize, “Argo” took home two other trophies for Best Adapted Screenplay and Film Editing.

Winning a golden statuette can boost receipts by one-third or more.

Last year, ticket sales for “The Artist” gained 41 percent after it won the top film prize, according to the box office division of Hollywood.com.

Before this year’s awards show, the nominees already racked up a combined $ 2 billion in global sales, with six of the nine contenders topping $ 100 million at the domestic box office.

Ticket sales for “Argo,” directed by and starring Ben Affleck, surpassed the expectations of Warner Bros. executives, topping $ 127 million at theaters in the United States and Canada, plus $ 77 million in international markets. The film was released on DVD last week and should see a spike in sales.

When Lionsgate Entertainment surprisingly took home the gold for “Crash” in 2006, it had already been released in both the theatrical and DVD markets. Its DVD sales spiked after the Academy Awards, with Lionsgate selling 17,500 copies of “Crash” in one day after the Oscars, more than half the previous week’s entire total of 33,000.

“Argo,” a $ 45 million production, recounts a real-life CIA mission to rescue six American diplomats from Iran after the 1979 Islamic Revolution, under the cover of making a fake Hollywood film called “Argo.”

Fox’s “Life of Pi” had scored $ 583 million in global ticket sales ahead of Sunday night’s awards, overcoming skepticism that the book adaptation about a boy stranded on a lifeboat with a tiger would work on the big screen.

“Everyone at Fox, thank you for taking the leap with me!” Lee said onstage as he accepted his Best Director award.

The victory for “Argo” in the Best Picture category ended the winning streak for independent studio The Weinstein Company, which took home the Best Picture trophy last year for “The Artist” and the prior year for “The King’s Speech.”

The studio run by brothers Harvey and Bob Weinstein went into the night with 16 nominations, including Best Picture nominations for “Silver Linings Playbook” and “Django Unchained.”

The Weinstein Company finished the evening with three awards, including Best Supporting Actor for Christoph Waltz in “Django” and Best Actress for Jennifer Lawrence in “Silver Linings.”

Fox, which led rivals going into the ceremony with 31 nominations, ended the night with a total of six, four for “Pi” and two for the international distribution of “Lincoln.”

Sony topped all studios with seven wins, including best foreign language film “Amour” and Best Documentary for “Searching for Sugar Man.” It shared in the two wins for “Django” as the film’s international distributor.

Sony’s thriller, “Zero Dark Thirty,” the controversial account of the CIA’s search for Osama bin Laden, landed just one technical award, for sound editing, in a category that was a tie.

Walt Disney Co earned the Best Animated Feature award for Pixar movie “Brave” about a spunky red-headed princess, plus three other awards.

Disney-distributed film “Lincoln,” produced by Steven Spielberg’s DreamWorks, went home with just two statuettes, Best Actor for Daniel Day-Lewis and Production Design, after going into the night with an industry-leading 12 nominations.

The film about the 16th U.S. president is leading Best Picture nominees in the box office race, however, selling $ 179 million worth of tickets at U.S. and Canadian theaters in addition to $ 59 million in international markets

(Edited by Ronald Grover and Mary Milliken)

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Britain’s first Oscar-winning animator Bob Godfrey dies at 91

LONDON (Reuters) – Britain’s first Oscar-winning animator Bob Godfrey, whose work ranged from the children’s TV cartoon “Roobarb” to mock-erotic movies like “Kama Sutra Rides Again”, has died aged 91, his family told the BBC on Friday.

Godfrey, often referred to as “The Godfather of British Animation“, was born in Australia but educated in England and started his career as a graphic artist in London in the 1930s before gaining work in the film industry.

He was the first British animator to win an Academy Award for Best Animated Short Film for his 1975 musical comedy “Great”, about civil engineer Isambard Kingdom Brunel.

Godfrey was nominated three other times for Oscars, including for his 1971 short film “Kama Sutra Rides Again”, one of his mock-erotic exploitation films that focused on the hypocrisy of British attitudes towards sex.

Filmmaker Stanley Kubrick so admired the film that he screened it alongside UK showings of “A Clockwork Orange”.

“Much of Godfrey’s work has been predicated on satirizing the foibles and minutiae of what it means to be ‘British’,” said his biography on the British Film Institute website.

For nearly 50 years Godfrey worked with some of animation’s biggest names including Monty Python’s Terry Gilliam, poking fun at orthodoxy and establishment thinking. He retired in 1999.

His work ran along two tracks – adult material and quirky children’s cartoons which he wanted to appeal to adults too.

He was known for his children’s cartoons “Roobarb”, about a warring cat and dog, and “Henry’s Cat”.

His death comes after the death on Sunday of veteran actor Richard Briers, aged 79, who narrated “Roobarb” and also the character of Brunel in Godfrey’s film “Great”.

Aardman Animations studio founder Peter Lord tweeted: “Dear old Bob Godfrey is no more. A great influence and inspiration to me and my generation of animators. Also a lovely bloke.”

In an interview with the Guardian in 2001, Godfrey said he had one professional regret.

“I’d love to have done a full-length feature but I can’t seem to stretch myself to that length,” he told the newspaper.

“When you look at my films, they appear to be a series of 30-second commercials cut together. I’m a short distance man whether I like it or not.”

(Reporting by Belinda Goldsmith; editing by Andrew Roche)

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Tyler, Perry lead Songwriters Hall of Fame class

NASHVILLE, Tenn. (AP) — The Songwriters Hall of Fame is saluting 1970s and ’80s rock ‘n’ roll with its 2013 induction class.

Joe Perry and Steven Tyler of Aerosmith and Mick Jones and Lou Gramm of Foreigner will join the hall of fame this year along with the writers of iconic rock hits “Love Is a Battlefield” and “Heartache Tonight.” The ceremony will be held June 13 in New York.

Aerosmith and Foreigner will get the attention here, but inductees Holly Knight, JD Souther and Tony Hatch also have distinguished careers that helped define the sound of rock ‘n’ roll.

Knight wrote anthemic hits “Love Is a Battlefield” and “Invincible” for Pat Benatar and “The Warrior” for Patty Smyth. She also wrote several songs for Tina Turner, including “The Best” and “Better Be Good to Me,” that became standards for the star.

Souther, who has a role on the music-inspired television show “Nashville,” had a partnership with The Eagles that spawned several hits, including “Heartache Tonight,” ”Victim of Love,” ”New Kid in Town” and “Best of My Love.”

Hatch made his mark during the British invasion, teaming with Petula Clark on hits like “Downtown” and “My Love” that helped shaped the future of pop music.

Perry and Tyler have survived a sometimes contentious relationship to become one of rock’s most successful songwriting teams over the last 40 years. The Rock and Roll Hall of Famers, staples of classic rock radio and pop culture icons, are known for hits like “Sweet Emotion,” ”Dream On” and “Livin’ on the Edge,” and released their 15th studio album last year.

Jones and Gramm are contemporaries of Perry and Tyler who also ruled radio for a time, but they sometimes came at it from a different angle. They could lay down a straight-up rocker like “Jukebox Hero” or “Feels Like the First Time.” But they also could slow it down with hits like “I Wanna Know What Love Is” and “Cold as Ice” that helped foreshadow the ballad-driven rock of the late ’80s.

___

Online:

http://songhall.org

___

Follow AP Music Writer Chris Talbott: http://twitter.com/Chris_Talbott .

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Lawrence, Chastain, Riva in Oscar battle of youth versus experience

LOS ANGELES (Reuters) – A young widow, a bayou girl, an elderly woman, a mother and a CIA agent battle it out on Sunday for the Best Actress Oscar, a race that includes the youngest and oldest nominees in the category’s history.

Jennifer Lawrence of “Silver Linings Playbook,” 9-year-old Quvenzhane Wallis from “Beasts of the Southern Wild,” 85-year-old star of “Amour” Emmanuelle Riva, “The Impossible” lead Naomi Watts and “Zero Dark Thirty’s” Jessica Chastain are competing for their first Academy Award.

“Any one of these five can win, it’s one of the most hotly contested races in recent memory,” Scott Feinberg, lead awards analyst for The Hollywood Reporter, told Reuters.

In the long movie campaign season, awards have been split between Lawrence, Chastain and Riva.

Lawrence, 22, who picked up her first Oscar nomination in 2011 for “Winter’s Bone,” was nominated for her portrayal of an endearing young widow in quirky comedy “Silver Linings Playbook.”

The actress won the Golden Globe and Critics’ Choice awards in the comedy acting categories, and bested Chastain for the Screen Actors Guild trophy.

“Jennifer Lawrence fits the perfect profile of a winner. (The voters) love an ingenue at the peak of her career,” Tom O’Neil of awards website GoldDerby.com told Reuters.

“She is queen of popcorn pictures with ‘The Hunger Games’ franchise and she is delivering the kind of dramatic performance in ‘Silver Linings Playbook’ that merit her the ultimate crown,” he added.

Chastain, who landed her first Oscar nod for supporting actress for the 2011 film “The Help,” has picked up the Critics’ Choice Best Actress award, and the Golden Globe for drama actress.

Yet Chastain, 35, an early Oscar front-runner for her role as dogged CIA agent Maya in the Osama bin Laden manhunt thriller “Zero Dark Thirty,” has seen some of her support wane in the wake of criticism for the film’s portrayal of torture, and director Kathryn Bigelow’s omission from the Oscar director’s race.

The race between Chastain and Lawrence has been fueled by reports of a rivalry between the two, which Chastain was forced to deny through her Facebook page last week, calling Lawrence “utterly charming and a great talent.”

But with French actress Riva winning Best Actress at Britain’s version of the Oscars this month, the star of foreign-language entry “Amour” could pull off an upset.

AN OPEN RACE

At age 85, Riva is the oldest Best Actress nominee for her performance as a retired music teacher felled by a series of strokes in “Amour.” Many pundits believe this year is an opportune time to recognize the French actress for her five-decade film career.

“Riva may be helped by the fact that people want to do this now. They’re not going to put it off for her as they might for the other nominees, who are all considerably younger,” Feinberg said.

Chastain and Watts, 44, are nominated for playing characters based on real people. But Feinberg suggested that Watts, who plays a mother torn from her family by a tsunami in “The Impossible,” had another advantage.

“(Voters) like to see that kind of physical transformation and Naomi is playing a real person, which they think is a taller order … you need to provoke more than respect, you need to provoke awe or enthusiasm,” Feinberg said.

“The problem with Jessica Chastain, as good an actress as she is, the part is very cold. It’s hard for people to get excited about it,” he added.

O’Neil noted that the 5,800 members of the Academy of Motion Picture Arts and Sciences – a predominantly male, over 50s group of movie professionals who select the Oscar winners – often vote for younger, attractive actresses in a close contest.

That would give Lawrence or perhaps child star Wallis an edge.

Wallis was a surprise Oscar nominee for her first acting role in mythical drama “Beasts of the Southern Wild,” playing a defiant young girl in an impoverished Louisiana bayou community.

“Oscar voters love little girls,” O’Neil said, citing Tatum O’Neal and Anna Paquin who won in the supporting category when they were children.

“Just because she is an adorable 9-year-old does not mean we should dismiss her as a contender. Oscar voters have historically shown that they love to give big hugs to little girls,” O’Neil said.

(Reporting By Piya Sinha-Roy; editing by Jill Serjeant and Stacey Joyce)

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Daniel Day-Lewis as Abe Lincoln makes unstoppable Oscar force

LOS ANGELES (Reuters) – If there is one sure bet in this roller coaster movie awards season, it is that Daniel Day-Lewis will take home the Best Actor statuette at the Oscars on Sunday.

Day-Lewis, known for his meticulous preparation, would become the first man to win three Best Actor Oscars, and awards pundits say it’s not hard to see why.

The tall, intellectual actor has swept every prize in the long Hollywood awards calendar for his thoughtful, intense portrayal of U.S. President Abraham Lincoln in Steven Spielberg‘s movie “Lincoln.”

“No-one has emerged to take him on. I don’t think he has lost a single (pre-Oscar) race. We have 25 experts and every single one is betting on Daniel Day-Lewis,” said Tom O’Neil of awards website Goldderby.com.

More surprising perhaps is that Day-Lewis will also be the first person to win an Oscar for playing a U.S. president. And it has taken a Briton with dual Irish citizenship, portraying one of America’s most revered leaders, to do it.

Although “Lincoln” started the Oscar race with a leading 12 nominations, its Best Picture front-runner status has dimmed in recent weeks with the ascendance of Iran hostage drama “Argo.”

But Day-Lewis’s star has only risen with Golden Globe, Screen Actors Guild and British BAFTA trophies, along with a slew of honors from film critics.

LINCOLN FOR A NEW GENERATION

Day-Lewis, 55, plays Lincoln in the last few months of a life cut short by his 1865 assassination in a film that focuses on the president’s personal commitment to abolish slavery and end the bloody four-year U.S. Civil War.

He’s not the first actor to play Lincoln on screen. Yet his quiet assurance, his adoption of a high-pitch voice rather than the booming tones associated with Lincoln, and the movie’s focus on complex political debates have shone new light on a man that many Americans thought they already knew well.

“It’s a performance that is subtle. It’s not the Lincoln you expect. It’s a different interpretation of Lincoln than we have seen and we feel, wow! This could be the way Lincoln was,” said Pete Hammond, awards columnist at Deadline.com.

“We are seeing a real human being played out here for the first time and that is extraordinary. Day-Lewis is bringing the character to life in a way we haven’t seen in years,” Hammond told Reuters.

It took Spielberg three attempts to convince Day-Lewis to play the role. Explaining his decision last month to take the part, Day-Lewis noted that “it was an actor that murdered Abraham Lincoln. Therefore, somehow it’s only fitting that every now and then, an actor tries to bring him back to life again.”

The London-born actor threw himself into the role with the same devotion that marked his Best Actor Oscar-winning performance as quadriplegic Irish writer Christy Brown in “My Left Foot” in 1989, when he spent weeks living in a wheelchair.

In “Gangs of New York,” he sharpened knives on sets between takes to capture the menace of Bill “The Butcher” Cutting, earning another Oscar nomination, and in 2008 he won his second Best Actor Award at the Oscars for his turn as a greedy oil baron in “There Will Be Blood.”

TEXTING LIKE LINCOLN

Sally Field, who plays his screen wife Mary Todd Lincoln, said Day-Lewis sent her text messages that were completely in character and in 19th century vernacular over a seven-month period prior to shooting “Lincoln.”

Joseph Gordon-Levitt who plays Lincoln’s son Robert, said he didn’t get to know Day-Lewis until after production wrapped.

“I never met Daniel in person,” Gordon-Levitt told reporters. “I only ever met the president, only ever heard the president’s voice. I called him sir, and he called me Robert.”

With four Academy Award nominations and two wins before “Lincoln,” Day-Lewis appears to have barely set a foot wrong in his 30-year career. Yet there have been missteps, including the box-office flop of star-laden musical “Nine” in 2009.

“He was sorely miscast as Guido, the adorable gigolo, and he was not convincing at all. He brought the whole film down,” recalled O’Neil. “‘Lincoln’ is a spectacular career rally for him after that disaster.”

While others are betting on Day-Lewis to take home a third Academy Award on Sunday, the actor has been modest about his chances.

“Members of the Academy love surprises, so about the worst thing that can happen to you is if you’ve built up an expectation. I think they’d probably be delighted if it was anybody else,” he told reporters after winning the Screen Actors Guild trophy in January.

Those “anybody elses” in the running are Bradley Cooper for “Silver Linings Playbook,” Denzel Washington’s alcoholic pilot in “Flight,” Joaquin Phoenix for “The Master” and Hugh Jackman in musical “Le Miserables.”

(Reporting By Jill Serjeant; Editing by Todd Eastham)

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Veteran British actor Richard Briers dies aged 79

LONDON (Reuters) – British actor Richard Briers, best known for the 1970s TV sit-com “The Good Life” but also for his Shakespearean roles, has died at the age of 79, prompting a flood of tributes for “a national treasure“.

The actor, who spent a lifetime on the stage, had recently spoken publicly of battling a serious lung condition for years, saying that “the ciggies got me” after a lifetime smoking habit.

He said his health was failing after being diagnosed with emphysema five years ago even though he gave up smoking 10 years ago.

“I was diagnosed five years ago and didn’t think it would go quite as badly as it has,” he told a newspaper interview last month. “I used to love smoking. It’s totally my fault.”

His agent said he died on Sunday at his London home.

Briers’s career ranged from television, to theatre, to film and radio with the actor, trained at the Royal Academy of Dramatic Art, making his West End debut in the late 1950s.

In “The Good Life”, he played alongside actress Felicity Kendal as a married couple who decide to drop out of the rat race and try out a life of self-sufficiency.

His film credits included “A Chorus Of Disapproval” in 1989 and “Watership Down” in 1978 in which he was the voice of Fiver. He also narrated the children’s cartoon series “Roobarb and Custard”.

But he won wide acclaim for his Shakespearean work after joining Kenneth Branagh‘s Renaissance Theatre Company. He appeared in a list of Branagh’s films including “Henry V”, “Much Ado About Nothing” and “Hamlet”.

Briers, who was married with two daughters, was awarded an OBE in 1989 for services to the arts.

Branagh paid tribute to Briers, telling reporters: “He was a national treasure, a great actor and a wonderful man. He was greatly loved and he will be deeply missed.”

Actor Stephen Fry on Twitter described him as “the most adorable and funny man imaginable”.

(Reporting by Belinda Goldsmith, editing by Paul Casciato)

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Opera world stages its own awards as faces budget crunch

LONDON (Reuters) – The world of opera, faced with budget cuts and wanting to raise appreciation of opera, has launched its own annual international awards, unveiling a shortlist of finalists in 23 categories.

The Operas, which will be presented at a ceremony in London on April 22, are the brainchild of Opera Magazine and British businessman Harry Hyman.

Opera Magazine editor John Allison said he hoped the awards would bring recognition to opera at a time when many opera houses were struggling to make ends meet due to a decline in private sponsorships and cuts in state subsidies.

English National Opera, one of London’s two principal opera companies, last month announced a loss for 2012 with audience figures down 9 percent and a drop in its public subsidy, while Paris Opera chief Nicolas Joel has publicly decried budget cuts and said he did not intend to renew his contract in 2015.

“Opera houses all over the world are in a lot of difficulty at the moment as everything is being cut and everyone is feeling the pinch. Some smaller houses in the United States have closed,” Allison told Reuters.

“Opera houses work very hard and artists put their life and soul into their work but there are a lot of good performances that come and go and are not recognized. Hopefully these awards will raise opera in everyone’s conscience.”

Allison said the awards also aimed to boost support for new and emerging artists who struggle to make a living from their profession and receive little public recognition.

“Everyone has awards – films, books, music – but there just has not been a set of international awards for opera. We want to change that,” said Allison.

The International Opera Awards, to be known as The Operas, involve 23 categories that recognize “the achievements of all the performers, producers and teams that work in Opera”.

Awards will be given to best female singer, male singer, conductor, opera company, and chorus, and there is also a life-time achievement award and a readers’ award.

Prizes for young singers will come with bursaries attached.

Finalists for the male singer are tenors Aleksandrs Antonenko, Piotr Beczala, Joseph Calleja, Jonas Kaufmann, bass-baritone Luca Pisaroni, and baritone Bryn Terfel.

Female singers in the running for the award are Sarah Connolly, Joyce DiDonato, Evelyn Herlitzius, Catherine Naglestad, Nina Stemme, and Beatrice Uria-Monzon.

The conductors shortlisted are Britons Richard Farnes and Antonio Pappano, Germany’s Ingo Metzmacher and Christian Thielemann, and Italian Nicola Luisotti.

The opera companies running for the prize are Oper Frankfurt, Opera National de Lyon, Staatsoper Stuttgart, Stanislavsky Music Theatre Moscow and Theater an der Wien.

One category unlikely to be seen at the Grammys is accessibility with the Metropolitan Opera in New York, London-based Streetwise Opera, Teatro Sociale in Como, Italy, and Welsh National Opera all vying for that prize.

Allison said more than 1,500 nominations were received from 41 countries with the judging panel made up 10 opera experts ranging from critics and opera house chiefs to singers.

(Reporting by Belinda Goldsmith, editing by Paul Casiato)

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Work starts on Seaside Heights, NJ, boardwalk

SEASIDE HEIGHTS, N.J. (AP) — The sounds shaking the ground in Seaside Heights aren’t from nightclubs.

The town featured in the MTV reality show “Jersey Shore” has started rebuilding the boardwalk that was destroyed by Superstorm Sandy.

Heavy equipment began drilling holes in the sand and pounding pilings into the ground Friday. It’s the first phase of a project that could ultimately cost $ 6 million to $ 7 million.

Mayor Bill Akers says the mile-long walkway should be done by May 10, but amenities like railings, lighting and ramps will come after that.

Many residents turned out to see the start of the work. They expressed hope that the place where they vacationed as children and came to settle down will recapture what made it so special to them.

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Bosnian Roma family plays itself in stark film

BERLIN (Reuters) – When Bosnian director Danis Tanovic learned about a Roma family refused emergency medical care because they could not pay for it, he not only decided to turn their story into a film but managed to convince the couple to play themselves.

The result is “An Episode in the Life of an Iron Picker”, a simple, powerful tale of one man’s struggle to provide for his partner and two daughters and of a society where money is apparently more important than human life.

The fact that Nazif Mujic and his partner Senada Alimanovic are Roma adds an extra dimension of injustice and alienation, but Tanovic’s tale is more universal.

“This story happens all around Europe to Roma people,” the award-winning director told Reuters in Berlin, where his movie is in competition at the film festival.

“In my country it happens to other people too. It is probably the poorest country in Europe. So this is an unfortunate reality of many, many people who live there … It really made me angry so I just went there and did this film.”

Tanovic first read about the case of the couple and their two children in a local newspaper in 2011.

He went to visit them in their run-down home in the village of Poljice, and after several days they finally agreed to appear as themselves in a kind of docu-drama.

Mujic had no regular job, but helped strip down cars to make a few Bosnian marks from a scrap dealer. Alimanovic was pregnant with their third child when she fell ill and miscarried.

The family was told she must have emergency surgery, but when doctors discovered they had no insurance they were sent away despite Mujic’s desperate and humiliating pleas.

Told it would cost 980 marks (around 500 euros) to pay for an operation, Mujic knew he could never raise the money, and so went back to the hospital and to charities, begging for help.

“BETTER IN THE WAR”

In the end the only way to succeed was to break the law.

“I really tried and struggled to get some help for Senada from all the different state institutions, but none of them would help, so it is tough,” Mujic said in Berlin, speaking through a translator.

“My biggest ambition is to have a job and be able to support the family, but unfortunately I don’t have any illusions or hopes that I will be able to get work anyway.”

Tanovic, best known for his 2001 Academy Award-winning debut feature “No Man’s Land”, said Bosnians too often turned their backs on the poor, despite many cases he knew where people risked lives to help a stranger during the 1992-95 war.

“I wish I lived in a country that took better care of their people but it is not the case,” he said.

“So when you open Bosnian newspapers … every day you see people asking for help, people begging for money to help operate somebody or something. It is terrible.”

At one point in the unscripted film, which cost just 30,000 euros ($ 40,000) to make, Mujic tells a charity worker that life was better during the war, and Tanovic said that to some extent he agreed.

“A lot of people actually lived better in the war, because in war you don’t see rich people driving cars around, you don’t see politicians having fun … All you see is people trying to survive and you are surviving too, so you are happy when you have one meal.”

(Reporting by Mike Collett-White, editing by Paul Casciato)

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Lady Gaga suffering from joint inflammation, postpones shows

LOS ANGELES (Reuters) – Pop star Lady Gaga said on Tuesday she was suffering from a severe inflammation of the joints that left her temporarily unable to walk, forcing her to postpone a handful of upcoming shows on the North American leg of her world tour.

“I am completely devastated and heartsick. I’ve been hiding this injury and pain from my staff for a month, praying it would heal, but after last night’s performance, I could not walk,” the singer said in a statement.

Her condition is called synovitis, an inflammation that sometimes follows a sprain, strain or injury.

Gaga posted a similar message in a series of tweets to her 34 million Twitter followers.

“I will hopefully heal as soon as possible and be at 500 percent again, which is what you deserve,” she said.

“The Edge of Glory” singer postponed shows in Chicago on Wednesday and Thursday, in Detroit on Saturday and in Hamilton, Ontario, on Sunday.

Lady Gaga, 26, has been on the road for two years on her “Born This Way Ball” world tour. Her website showed tour dates through March 20.

The 200-plus date tour has taken the singer across six continents and was ranked as the sixth top-grossing tour of 2012 by Billboard magazine.

(Reporting By Piya Sinha-Roy, editing by Jill Serjeant and Cynthia Osterman)

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CNN slots Jake Tapper Show, cuts length of Wolf Blitzer’s “Situation Room”

LOS ANGELES (TheWrap.com) – CNN slotted new anchor Jake Tapper‘s upcoming show for 4 p.m. on weekdays, cutting Wolf Blitzer‘s “The Situation Room” back one hour, a CNN spokeswoman told TheWrap.

Tapper, lured away from ABC News in December, was CNN boss Jeff Zucker‘s first major hire since taking charge of the network. Now, with his own show coming in March, Blitzer’s program will but cut from three hours to two as it moves to the 5 p.m. to 7 p.m. time slot.

A CNN spokeswoman told TheWrap Tapper‘s show has no specific starting date yet because it is still in development.

Last month, Turner Broadcasting posted LinkedIn job openings for a senior producer at a new daily program called “Tapper.”

And on Monday, CNN named Federico Quadrani, MSNBC’s executive producer of “Jansing and Company,” as the show’s new executive producer.

Choosing Quadrani – who served as an Emmy-winning producer for NBC’s “Today” show from 2003 to 2009 – is one of Zucker’s higher profile hires as the former “Today” producer attempts to replicate his morning show success at CNN.

After taking charge of the show in 1992, Zucker led “Today” to its ratings highs before Katie Couric‘s departure for CBS. The subsequent exit of Meredith Vieira, who replaced Couric, made it vulnerable to rival “Good Morning America.”

Late last month, CNN announced that it had bought “20/20″ anchor and former “GMA” host Chris Cuomo to lead a new morning show with Erin Burnett.

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“Good Day to Die Hard” takes $10 million in Asian box office

LOS ANGELES (TheWrap.com) – “Good Day to Die Hard” is off and running overseas. The Bruce Willis action film took in more than $ 10 million in its debut in seven Asian markets for Fox.

“Django Unchained” was the top international moneymaker for the fourth consecutive week, adding $ 18.7 million from 66 markets. Quentin Tarantino‘s slave saga has now brought in $ 187 million overseas.

“Good Day to Die Hard” opens Thursday in North America. The leading market was Korea, where it made $ 4.2 million. It broke a Fox record in Indonesia with $ 1.4 million and was the biggest of the franchise openings in Hong Kong with $ 1.2 million.

Fox is counting on big things from “Good Day to Die Hard.” Starting with the original film in 1988, which made $ 148 million worldwide, each successive movie has made more money at the global box office.

The last one, “Live Free Or Die Hard,” made $ 383 million in 2007. In all, the “Die Hard” franchise has taken in $ 1.13 billion.

Fox also opened “Lincoln” in seven new markets, contributing to the DreamWorks’ historical drama’s roughly $ 10 million weekend overseas, in which it played in 51 territories. Australia was the top new market with $ 1.8 million for “Lincoln,” which has brought in $ 47.6 million from foreign markets overall.

“Les Miserables,” like “Lincoln” and “Django” a Best Picture Oscar nominee, also brought in roughly $ 10 million over the weekend, from 46 markets. The musical’s international gross now stands at $ 215 million.

Paramount’s 3D action fantasy “Hansel and Gretel: Witch Hunters” added $ 11.6 million from 46 regions and has now brought in $ 84 million at the foreign box office.

Disney’s video game-inspired animated film “Wreck-it Ralph” raised its overall international total to $ 207 million by adding another $ 11.7 million from 66 foreign markets.

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All eyes on Frank Ocean as Grammy Awards approach

LOS ANGELES (AP) — Everybody’s thinkin’ about Frank Ocean.

Ocean is a cause celebre and the man with the momentum as Sunday’s Grammy Awards approach. One of six top nominees with six nominations apiece, the 25-year-old R&B singer turned cultural talking point will have the music world’s attention.

It remains to be seen if it will be the “Thinkin Bout You” singer’s night, but there’s no question he’s dominated the discussion so far. Already a budding star with a gift for building buzz as well as crafting songs, Ocean was swept up by something more profound when he told fans his first love was a man last fall as he prepared to release his major-label debut, “channel ORANGE.”

It was a bold move and one that could have submarined his career before it really even got started. Instead, everyone from Beyonce to the often-homophobic R&B and rap communities showed public support. It was a remarkable moment.

“It speaks to the advancements of our culture,” renowned producer Rick Rubin said. “It feels like the culture’s moving forward and he’s a representative of the new acceptance in the world for different ideas, which just broadens (our experience), makes the world a better place.”

Ocean is up for major awards best new artist, album of the year and record of the year when the show airs live on CBS at 8 p.m. EST from the Staples Center, sharing top-nominee billing with fun., Dan Auerbach of The Black Keys, Mumford & Sons, Jay-Z and Kanye West.

Don’t hand Ocean those trophies just yet, though. R&B and hip-hop performers (Ocean is part of the Odd Future collective) have had a spotty history at the Grammys recently when it comes to major awards.

Only one R&B act has won album of the year this century, and it’s hard to even call him just an R&B act given his legend, artistic scope and material: Ray Charles for his “Genius & Friends,” an all-star collaboration that was honored posthumously.

Also limiting Ocean‘s chances for a clean sweep are his fellow top nominees. Most are riding waves of their own.

Fun. became just the second act to sweep nominations in all four major categories with a debut album, equaling Christopher Cross‘ 1981 feat. Like Cross’ “Sailing,” the New York-based pop-rock band has ridden along on the crest of an inescapable song: “We Are Young,” featuring Janelle Monae.

Cross won five Grammys, sweeping the major awards. Fun. likely will have a much harder time piling up that number of victories because of the buzz surrounding the group’s competitors. It’s not just Ocean who has people talking.

London-based folk-rockers Mumford & Sons had one of the top-selling albums of the year with “Babel” and already has a history with The Recording Academy’s thousands of voters, having been nominated for major awards the year prior. Also, The Black Keys have a winning track record at the Grammys.

And don’t count out West and Jay-Z, who were shut out of the major categories but remain very much in voters’ minds.

Jack White’s “Blunderbuss” competes with fun.’s “Some Nights,” Ocean‘s “channel ORANGE,” Mumford’s “Babel” and The Keys’ “El Camino” for the night’s top award, album of the year.

Gotye’s “Somebody That I Used To Know,” featuring Kimbra, Taylor Swift’s “We Are Never Ever Getting Back Together” and Kelly Clarkson‘s “Stronger (What Doesn’t Kill You)” join the fun., Ocean and Black Keys entries in record of the year.

Fun. and Clarkson also are nominated for song of the year along with Ed Sheeran’s “The A Team,” Carly Rae Jepsen’s “Call Me Maybe” and Miguel’s “Adorn.”

And rounding out the major categories, fun., Ocean, Alabama Shakes, Hunter Hayes and The Lumineers are up for best new artist.

Those major nominees figure prominently on the 3 1/2-hour telecast, broadcast live on CBS at 8 p.m. EST.

Swift will kick things off with a show-opening performance. Fun. and Ocean will take the stage. Others scheduled to perform include Justin Timberlake, Carrie Underwood, Clarkson, White and Juanes.

There will be no shortage of mashups the Grammys have become famous for, either. Elton John, Mavis Staples, Mumford, Brittany Howard, T Bone Burnett and Zac Brown are saluting the late Levon Helm, who won the Americana Grammy last year a few months before his death. The Keys will join Dr. John and the Preservation Hall Jazz Band on stage. Sting, Rihanna and Bruno Mars will perform together. Other team-ups include Miranda Lambert and Dierks Bentley, and Alicia Keys and Maroon 5.

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Charlie Sheen revisits alter-ego in movie “Mind of Charles Swan”

LOS ANGELES (Reuters) – It’s a downward spiral for Charlie, a successful professional whose life slides into despair when his girlfriend breaks up with him.

This Charlie could be Charlie Sheen, but it’s actually the fictional Charles Swan, a charming, immature character played by Hollywood’s favorite bad boy actor and filmed only a few months after Sheen‘s off-screen antics got him fired in 2011 from TV comedy “Two and a Half Men.”

Sheen stars in “A Glimpse Inside the Mind of Charles Swan III,” opening in U.S. movie theaters on Friday. The film is directed and written by Roman Coppola, son of “The Godfather” director Francis Ford Coppola.

Coppola, 47, who is Oscar-nominated for his work on the screenplay of “Moonrise Kingdom,” talked with Reuters about working with Sheen on the “playful romp” about lost love and revenge fantasies set in a stylized Los Angeles.

Q: Did you write the film specifically for Charlie Sheen to star in?

A: “I didn’t write it for him in mind. I was excited to write a piece about a very outlandish lead character, someone charming, immature, struggling and full of imagination. As I was finishing it, I kind of realized Charlie Sheen would be perfect. Both are larger than life. They use their wit and charm to smooth over problems in their life to not deal with things. But it’s a coincidence that it’s the same first name.”

Q: Both of you are part of Hollywood dynasties. Your father is Francis Ford Coppola and his dad is Martin Sheen. When did you and Charlie first meet?

A: “We met as boys when we were around 11 years old on the set of (the 1979 film) ‘Apocalypse Now’ (which Francis Ford Coppola directed and Martin Sheen starred in). Our families were in the Philippines (for the shoot) for many months so Charlie and I became pals. We have a lot of fond memories hanging out together in that exotic location.”

Q: What type of memories?

A: “I remember being with him when they built the (fictional) Kurtz Compound. Charlie and I would cruise around (the set) and there would be all sorts of skulls and weapons and things that are interesting to 11-year old boys. I was also interested in theatrical makeup, so I introduced Charlie to the hobby of making scars.”

Q: Did you get any pushback from family, friends or financiers when you decided to cast Sheen in “Charles Swan“?

A: “Basically there was no film company willing to finance the movie with Charlie. Insurance companies didn’t want my business, nor did any bond company. There was very little support in the film community to finance that picture. So I had to be very crafty about getting the financing.”

Q: Were you surprised at that?

A: “I was surprised to some degree because I had other talent attached to it like Jason Schwartzman and Bill Murray. You’d think that would tip people’s curiosity. When people say ‘No’ or ‘Why would you want to cast Charlie Sheen?’ it makes me feel like everyone else is crazy.”

Q: But it’s Charlie who conjures up the images of crazy – public battles with “Two and Half Men” creator Chuck Lorre and his ex-wives, Denise Richards and Brook Mueller. He is the one who was in rehab for drugs, who damaged hotel rooms, lived with porn stars, and called himself a warlock with “tiger blood” and “Adonis DNA.”

A: “But that’s very comic book, that’s not a real person. That’s a portrayal that comes from wanting to make stories. He’s an individual. He’s obviously a talented guy and talent doesn’t go away. Ten years ago we’d be having this exact same conversation about Robert Downey Jr. and how crazy and irresponsible he is. Now we know he’s at the top of his game. So to me it’s kind of immature to cotton to that kind of stuff. It’s gossipy and phony.”

Q: So none of that was prevalent during the shooting of your film?

A: “Charlie was totally committed throughout the entire shooting. He showed up every day, he knew his lines, he learned Spanish and he learned to dance. I had a professional, fantastic experience with a highly skilled and dedicated performer.”

Q: How would you describe Charlie’s acting?

A: “He’s very intuitive. On a technical level, he’s very experienced and capable. He knows where to stand, where the light is. Then there is the magical aspect of acting where you’re able to create a see-through veil in which your feelings come out and they’re captured by the camera.

“No one knows how it works. Some people can do it and Charlie certainly has it. So despite all the chitter chatter of Charlie this and breakdown that, he’s a fine actor and he shines in this performance.”

(Reporting By Zorianna Kit, editing by Jill Serjeant and Doina Chiacu)

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Katie Holmes takes fashion line crosstown

NEW YORK (AP) — Katie Holmes and her business partner and stylist Jeanne Yang joined the New York Fashion Week frenzy last season with a show at Lincoln Center, only to leave it behind this time around.

It wasn’t all the people, or even the paparazzi, that drove them away. It was their own clothes. Their look, which they describe as one of careful artistry and potential heritage pieces that women will keep a lifetime, is a little too quiet for all the splash, they said.

“We wanted to tell the full story behind the frivolity,” said Yang, adding: “It’s a quiet approach.”

Holmes and Yang sat down at a hotel on the opposite side of Manhattan with a handful of fashion journalists on Thursday, the opening day of fashion week, to walk them personally through 15 looks Holmes called their favorites.

Katharine Hepburn‘s practical-yet-chic look of the 1940s, Donna Karan‘s use of the shoulders and back as erogenous zones, Halston’s glamorous sportswear and Chanel’s mastery of seaming and studs were all in their minds as they built the pieces and outfits.

“We’re not trying to be trendy … but we’re trying to make high-quality pieces you’ll wear over and over again,” Holmes said.

Holmes was wearing an A-line shirtdress in the blue-and-black plaid that was dominant in the collection, while Yang wore one of the slouchy blazers that has become a key piece for the label, founded in 2009.

For fall, they’ll offer a peplum top with a suede waist band and maxi skirt in the same plaid. Holmes suggested that outfit for a dinner out. Swap the shirt for a tank top for brunch and a blouse to go to the theater. Yang said she hoped a customer would “feel smart” in a white cashmere-silk boucle sweaterdress with a strip of white silk at the hem.

Holmes, meanwhile, was partial to the baggy suede caramel-colored pants that hit just above the ankle, worn with a bow-neck blouse in a deep shade of lipstick pink.

The duo made a point of noting that 70 percent of production of Holmes & Yang happens in New York and the other 30 percent in Los Angeles.

___

Follow Samantha Critchell on Twitter at http://twitter.com/AP_Fashion

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