« September 2007 | Main | November 2007 »

Zombie-Killing Advice, from the Experts

Evil_dead_ash_choking_4 It's Halloween, so we couldn't go all day without at least mentioning our favorite scary movies. Well, sort of. Scary movie vets Sam Raimi (The Evil Dead), Bruce Campbell, Eli Roth (Hostel), Darren Lynn Bousman (Saw II), Quentin Tarantino, and a host of other horror actors and filmmakers offered their expertise on how to survive the imminent undead uprising, and MTV.com is kind enough to spread the word.

Sam Raimi, director of The Evil Dead and Spider-Man series, says: "If the dead should rise, you're going to want to get yourself a shotgun, a chainsaw and someone to watch your back. It's also good to have a partner, so that they can get taken down first. And that makes you not only the survivor, but also the star of the show."

Saw series director Darren Lynn Bousman offers: "The majority of zombies can't run... So as long as you can run, you're OK. I myself don't run — so I'd be screwed."

Zombie killer and professional bad-ass Bruce Campbell agrees that "all you have to do is run," but Hostel and Cabin Fever director Eli Roth warns:  "One mistake people make is they get cocky, just 'cause they're fast, but it's like the tortoise and the hare.  People start running and running, and then they stop and take a nap. The zombies are lumbering, but they don't sleep!"

For more expert advice, visit MTV.com for the full story. 

So be sure to study your worn-out copies of Evil Dead and Dawn of the Dead (or even Shaun of the Dead), or pick up a copy of The Zombie Survival Guide, and prepare for the apocalypse.


VideoJug: How To Survive A Zombie Apocalypse

-- Daniel Lehman

WGA Strike Says "Boo!" to Hollywood

Perhaps the most terrifying Halloween story in Hollywood today is the pending Writers Guild strike, and a series of stories in Variety describe the possible effects that strike could have over the next few months.

Josef Adalian and Michael Schneider write that late night comedy and variety shows will likely be hit the hardest. "Boom -- our show just shuts down," said SNL vet Amy Poehler. "It's just done. There is no backlog of scripts."

Even Hollywood's top talent agencies will feel the blow, according to Adalian and Schnieder in "Writers strike reality sets in":

The repercussions of scribes going out will surely be felt at Hollywood's major talent agencies. It's widely expected that a prolonged strike would result in serious layoffs; some agencies have already sketched out strike contingency plans involving salary deferments and other cost-cutting moves.

Meanwhile, Variety's Michael Fleming and Pamela McClintock report that the major film studios are better prepared, after spending the better part of a year trying to protect themselves from possible strike effects.

From the article "Studios prep back-up plan":

There are as many as 50 studio movies ready to go into production now if writers walk, and most of the majors have managed to muster together at least five pictures with scripts and plots strong enough to overcome the potential lack of a WGA member on set to execute revisions.

Unlike in television, which is far more exposed, the natural cycle of making movies means studios have had ample time to prepare for a walkout, whether by writers, whose contract expires at midnight, or actors, whose contract is up next summer.

"For now, it's a television strike, not a movie strike. Everybody has done their films for 2008 and part of 2009. It would need a very long strike, six or seven months, to have an impact," said one veteran industry player.

But Dave McNary writes that the WGA may still delay the strike until next week anyway. His article "WGA may delay strike" offers perhaps the best summary of the conflict so far, and also gets behind the scenes:

Jonathan Handel, a former WGA counsel who's an entertainment attorney at the TroyGould law firm, believes striking right away -- either on Thursday or Friday -- would be a PR disaster for the WGA.

"It's necessary for the guild to appear that it's operating in good faith at negotiations," he said. "If they were to strike in the next three days, the mediator would read them the riot act. A high-profile labor negotiation is a lot like a high-profile lawsuit in that a lot of it gets played out in the public arena."

Visit Variety for more news about the strike, including the possible benefits for indie films, a likely increase in news scheduling, and even the effects a strike could have on post-production houses.

It seems nearly impossible to keep with the minute-to-minute developments in this case. I just want to watch TV in peace.

-- Daniel Lehman

Goodbye And Good Riddance!

Finally! Sabrina Bryan, the annoyingly happy Cheetah Girl has been voted off Dancing With The Stars. From day one, I wanted her gone. The whole purpose of DWTS is to watch former/semi-famous celebs, who have no prior dancing abilities, battle it out on the dance floor in the form of ballroom dancing.

My problem with Bryan is that she dances for a living! She's a freakin' Cheetah girl, for Peke's Sake. True,  she may of not had prior ballroom dancing experience, but her work as a  (dancing) Disney Cheetah Girl  gives her an advantage over the other contestants.

Putting my dislike for the Cheater-girl aside, I believe that the true reason she was voted off is because her lack of a fan base. If you look at the numbers, more people over the age of 25 are tuning in, and Bryan's fan base are still wearing training bras. The fact-of-the-matter is, her fans aren't watching the show and if they do they probably aren't allowed to use the phone that late at night to vote.

If the other contestants want to secure a place in the finals, they better stop relying on the judges scores and start thinking how to improve their fan base. Last season, Joey Fatone went to Disney World, did a meet-and-greet, and danced for park-goers. If this season's performers don't get out there and show America they really want this, it might be their butts getting voted off next week!


--Diana Disilvestro

NBC & Fox Launch Hulu

Hulu_logo After months of speculation and legal news, NBC and News Corp.'s Fox division's partnership on their own online video site launched yesterday, in beta form. It's called Hulu. Why Hulu, you ask?

CEO Jason Kilar explained the name "Hulu" on the site's blog in August:

Why Hulu? Objectively, Hulu is short, easy to spell, easy to pronounce, and rhymes with itself. Subjectively, Hulu strikes us as an inherently fun name, one that captures the spirit of the service we’re building.

Now that doesn't make a whole lot of sense (and "Hulu" isn't nearly as catchy as "YouTube"), but the service promises to offer "a great selection of television shows, clips, feature films and more that you can enjoy for free and on-demand."

Kilar wrote yesterday:

On behalf of the Hulu team, thank you for giving us the chance to present this service to you. To a person, this team is extremely passionate about fulfilling what we see as a big consumer need: to enable people to find and enjoy premium content when, where and how they want it. Great content needs to be that easy. Please know that this crew of technologists, user interface geeks, and all-around media junkies will not stop in our pursuit to provide you more and more premium entertainment to enjoy on your terms.

Is the site a direct response to YouTube's rampant copyright infringement? In preparation, NBC pulled all of its clips from rival YouTube last week. Kilar celebrated the launch by posting a full episode of NBC's The Office online:

-- Daniel Lehman

Reality TV to Take Over During Strike?

With the impending Writers Guild of America strike looming ever closer, TV viewers hooked on weekly scripted dramas (and nearly everything else) could be left hanging next season. The current contract is set to expire at midnight on Wednesday, and more than 5,000 members of the WGA recently voted, with 90 percent authorizing negotiators to call the first strike since 1988 if necessary.

Beauty_and_the_geekTV networks are bracing for the need to fill the airwaves with reality shows, game shows, and even reruns if a threatened strike devours their script inventory, and viewers could start seeing an onslaught of unscripted entertainment by early next year.

From amNewYork:

"I was in a network meeting today, and they were referring to the fact the timing is really good for reality producers," said producer Mark Cronin. He and partner Cris Abrego have been consistently busy with shows such as Flavor of Love, I Love New York, and The Surreal Life. But "it's going from 50 mph to 70 mph," Cronin said, adding that networks must "protect themselves and fill their airspace."

As the Associated Press reports, networks have enough episodes of shows such as Ugly Betty and CSI written and in production to last at least through the end of the year and possibly into next February, industry executives and analysts said.  But after that, schedules will run into trouble. A strike could also leave the hosts of the big Hollywood awards shows speechless. The Academy Awards, set for February, as well as January's Golden Globes and other awards shows rely on teams of writers to fashion quips and monologues.I_love_ny_2

As a result, networks are busy mulling proposed reality projects that aren't governed by guild contracts. The shows have the advantage of a quick production time line, with a series able to go from "concept to pitch to air" in just a couple months.

We would love to see more high-quality reality TV programming in the vein of the CW's Beauty and the Geek or Bravo's Top Chef -- or even I Love New York 3 -- but hits like those seem less likely than more Survivor and Big Brother. Who knows, this could be a year when even more reality TV stars are born.

Flavor_of_love  
(On a related note: be sure to check out a certain casting notice in this Thursday's (Nov. 1) upcoming issue of Back Stage. You might find a new Reality TV casting call that will spoil the surprise for some, but  guarantee a second season of a favorite guilty pleasure for others.)

-- Daniel Lehman

New York Honors 'Living Landmarks'

Lauren_bacall The New York Landmarks Conservancy will honor six more Manhattanites as "Living Legends" tonight at Cipriani 42nd Street.  This year's honorees include Lauren Bacall, Oscar de la Renta, Jessye Norman, Mica Ertegun, Gerald Schoenfeld, and John C. Whitehead (who will receive the Lew Rudin Award for Outstanding Public Service).

According to the Conservancy,  the annual celebration "recognizes New Yorkers who have made outstanding contributions to the City and honors them as Living Landmarks at our fall gala. Our celebration of these legendary individuals supports our work to preserve New York's great historic buildings and neighborhoods."

Liz Smith, herself a Living Legend, will host.

Last year's inductees included Tom Brokaw, Mario Cuomo, Barry Diller, and Norman Mailer. Past inductees include Pete Hamill, Barbara Walters, Mayor Ed Koch, Candice Bergen, Whoopi Goldberg, George Steinbrenner, and Elaine Stritch, among other notable New Yorkers.

-- Daniel Lehman

Vote for OurStage's October Winners; Enter Reels for November

October's "finals week" is here

Related Links:

-- Luke Crowe, National Casting Editor

Health Insurance for Stand-Ups?

Improv founder/owner Budd Friedman was in NYC yesterday at Carolines, where he spoke to comedians and club owners about the formation of a special branch of The Actors Fund, for comedians.

In an email invitation to the event, Friedman wrote:

The Actors Fund for Comedians is being formed for the express purpose of bringing to the comedy community the same type of protection and help that actors, directors, writers, etc. all enjoy. If you are a comedian and are not also a member of a protecting union than you are left out in the cold!

But now The Actors Fund of America is setting up a division to bring all these benefits to the professional stand-up comedian.

According to Friedman and Michael Goldstein yesterday, the nonprofit agency and its services already are open to help working professional comics with financial assistance, a free health clinic and guidance on health insurance, housing support, and long-term care for retired performers. Most comedians simply don't know about it. Most comedians don't have health insurance, and don't have a support system to help them when times are tough.

Sean L. McCarthy, blogging for the NY Daily News' comedy blog Funny Business, wrote yesterday:

[Friedman and Goldstein's] plans to raise awareness also includes a bold scheme -- convincing every comedy club in America to host an Actors Fund benefit on the same night, with door proceeds going to the Fund, and bar receipts to the club, while the comics would work gratis that evening. They don't have a specific date yet, although they're thinking a Tuesday night in early 2008.

[Actors Fund executive director Joe] Benincasa said that every Broadway production sets aside one extra show each year to benefit the Fund... Overall, the deal with Broadway nets $1 million for the Fund, which in turn supports the programs that support the entertainment industry workers.

One major challenge remains: what defines a professional comedian? Friedman posed the question to those in attendance at Caroline's, and asked club owners and comedians "to get a dialogue going" to determine how exactly The Actors Fund should determine who is a professional comedian.

-- Daniel Lehman

Into the Breach, Dear Thesps

Last week Back Stage welcomed a sterling group of actors -- including Sean Penn, Khalid Abdalla, and Marion Cotillard -- as part of its Evening With screenings and Q&A sessions. The series, presenting some of the most talked-about films this awards season, began Oct. 17 at the Harmony Gold Theatre in HollywoodInto_the_wild_2 with Into the Wild, director-writer Penn's breathtaking tale of adventurer Christopher McCandless' journey into the Alaskan wilderness. Following the screening, Penn joined cast members Emile Hirsch and Jena Malone on stage for a Q&A with Back Stage National Film & TV Editor Jenelle Riley.

Penn told the crowd it was a challenge to find the right actor to play McCandless, a role that required significant weight loss and hours of shooting in extreme temperatures. For eight months the cast and crew followed roughly the same cross-country route McCandless was believed to have traveled.

"It was going to be an enormous feat to do this role," said Penn, who cast Hirsch after being struck by his physicality in the skateboarding movie Lords of Dogtown.

Although Hirsch prepared for the role by running and lifting weights, he told the audience, "Until you're in front of a rapid [in a river], it's hard to have a full sense of the film's physical demands."

Raising Awareness

Back Stage's screenings continued Oct. 20 with another film that chronicles a trip into dangerous territory: The Kite Runner. Based on Khaled Hosseini's best-selling novel of the same name, the film follows an Afghani man who returns to war-torn Kabul to save the son of his childhood friend. Q&A participants were director Marc Forster and cast members Abdalla, Homayon Ershadi, Atossa Leoni, and Shaun Toub. Abdalla told Q&A moderator Riley that Kite Runner may be the firstKite_runner_2 Hollywood film about the Middle East that focuses on the terrorized rather than the terrorists. "This is the first film, I think, where the first point of contact with this part of the world is a human family story and not violence," he said. "The fact that when we think of Afghanistan, we think of beards, we think of bombs, [and] we think of everything negative before we think of anything positive is a horrendous tragedy."

Ershadi said he hopes that after watching the film, more Western audiences will recognize the importance of sending aid to Afghanistan. "Afghan people are human beings. They are not all Taliban," he said. "Please help Afghan people; they need us."

The Oct. 21 screening was La Vie en Rose, Olivier Dahan's stunning portrait of Edith Piaf, which tells the story of the French chanteuse's inner journey from afflicted orphan to international icon. Marion Cotillard portrays Piaf from age 20 to the singer's death at 48.

During the Q&A, moderated by Sarah Kuhn, Back Stage film and TV writer, Cotillard said she was not familiar with the troubled singer's life at first. "When I started to discover who she was, some things were hard to accept, because I didn't understand at that time why she was so tyrannic, for example," Cotillard said. "I realized that my admiration for her stopped me at a point on the way, because when you admire someone, there's a distance between you and the one you admire... . I had to erase that distance and to understand the person she was and not only the icon."

La_vie_en_rose Cotillard said she fully immersed herself in the role, often to the point of forgetting to return to being herself. "I felt that when we were not shooting, I was not totally myself, but I was aware of this. It was not dangerous. [I wasn't] coming back home all crazy.

"I liked her," she said of Piaf. "The way I talked, the way I walked on the set during all these things. Even my humor was not exactly mine. I enjoyed it, and because I was very aware of this, it was okay."

Join Back Stage Oct. 27 for a free screening of Journey From the Fall, followed by a Q&A with director-writer Ham Tran (The Anniversary) and cast members Long Nguyen (Running in Tall Grasses) and Kieu Chinh (Face). The event will be held at the Fine Arts Theatre, 8556 Wilshire Blvd., Beverly Hills. To attend, RSVP to rsvp@studioscreenings.com. For more information, click here.

-- Lauren Horwitch, Brooke O'Neill, and Nicole Porter

'A Bronx Tale' On Broadway

A_bronx_tale_poster_3 A Bronx Tale officially opens on Broadway today, October 25. The one-man show marks the Broadway debut of Oscar-nominated screen and stage actor Chazz Palminteri, who first performed the show in L.A. and Off-Broadway in the late '80s, and inspired the 1993 film of the same name (written by Palminteri, directed by Robert De Niro, and starring both actors). Previews began October 4, and the 18-week engagement will run through February 10 at the Walter Kerr Theatre.

In the semi-autobiographical solo show, the actor plays 18 roles that depict "a rough childhood on Bronx streets populated by a cast of friends and enemies," according to press notes.

Press notes also reveal that the production "caught the attention of studios, producers, directors, all of whom wanted to make the film version - without him. Palminteri turned down a million-dollar offer for the film rights, despite having $200 in his bank account at the time. Robert De Niro came to see the show, and brought both it and Palminteri to the screen, making his directorial debut in the process."

"Over the years I've done over 50 movies, but everybody comes over to me and talks to me about Bronx Tale," Palminteri told Variety about the movie. "I walk down the street, I have people yelling lines from the movie at me. It's bigger than me."

Broadway.com has an insightful Q & A with Palminteri about his career and revisiting A Bronx Tale on stage.

-- Daniel Lehman