A Guide to Exactly How Sarah Jessica Parker Does It in Every Chick Flick

In this week’s new chick flick I Don’t Know How She Does It, Sarah Jessica Parker — she who had sex in the city, a bastion of modern female fabulosity and our generation’s go-to, couture-sheathed screen heroine in heels — attempts to solve the plight of the 21st century woman once more as Kate Reddy, a wife, mother of two, and financial analyst for a high-powered investment firm trying desperately to juggle “it all.” How many times do co-workers and colleagues ask her how she “does it?” A lot. That’s how much she’s doing. But it’s not the first time SJP’s put her plucky feminine know-how to use in the movies to solve the routine problems of the modern woman. Ed Wood (1994) (Not a chick flick, but still — see how she does it! Groan…) Character: Dolores Fuller Challenge to Overcome: Boyfriend doesn’t keep his word, is holding her back from her career, wears her angora sweaters. How Does She Do It? Dumps his ass. Life Without Dick (2002) Character: Colleen Gibson Challenge to Overcome: Her boyfriend (whose name is Dick, get it?) is cheating on her. How Does She Do It? Accidentally-on-purpose shoots him with his own gun. Problem solved! The Family Stone (2005) Character: Meredith Morton, an uptight exec Challenge to Overcome: Being stuck with her boyfriend’s family for the holidays. How Does She Do It? By having a near-total meltdown, falling for another man, then picking up the pieces. Failure to Launch (2006) Character: Paula, an expert who specializes in hooking live-at-home men into fake relationships in order to make them move out of their parents’ houses. Challenge to Overcome: Tripp (Matthew McConaughey), a well-adjusted live-at-homer who resists her “therapy.” How Does She Do It? By falling in love with her emotionally-crippled charge. Smart People (2008) Character: Dr. Janet Hartigan, who falls for her former college professor (Dennis Quaid) Challenge to Overcome: He’s a self-involved asshole, and she’s pregnant. How Does She Do It? Leaves him without telling him the news, waits for him to come to his senses and reunites with him to co-parent twin babies. Sex and the City (2008) Character: Carrie Bradshaw, NY columnist extraordinaire Challenge to Overcome: Left at the altar when Mr. Big gets cold feet. How Does She Do It? Takes her honeymoon to Mexico anyway with her three closest girlfriends before Big realizes the way to a woman’s heart is through a giant Manolo-filled shoe closet. Did You Hear About the Morgans? (2009) Character: Meryl Morgan, successful Manhattan real estate agent Challenge to Overcome: Marriage to Paul (Hugh Grant) is in shambles due to mutual infidelity and workaholism How Does She Do It? Reconnects with equally douchey husband while forced into hiding in a small town in the country, where surviving bears and a hitman reignites their love. Ugh. Sex and the City 2 (2010) Character: Carrie Preston (nee Bradshaw) Challenge to Overcome: Marriage to Big is now too boring! Mustn’t… cheat.. with Aidan… in Abu Dhabi! How Does She Do It? She cheats on Big, but then feels bad about it. They make up when Big buys her a new diamond ring. Wait, what?!

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Charlie's Angels' Cheryl Ladd to locate Romance on NCIS

Cheryl Ladd Charlie's crime-fighting angels continue to be extremely popular! Not simply will ABC possess a new trio of femme fatales within the Charlie's Angels reboot, but CBS' NCIS just snagged among the alums for any hot role. Fall TV: Retrace three decades of Charlie's Angels Cheryl Ladd, who performed Kris Munroe from 1977 to 1981 about the original Angels series, will join the cast of NCIS like a love interest for Ducky (David McCallum), Entertainment Weekly reviews. NCIS premieres Tuesday, Sept 20, at 8/7c. Ladd, 60, can look within an episode slated for late October.

Toronto: Tribeca Attaches Itself To Tony Kayes Detachment

Tribeca Film has acquired U.S. distribution privileges to Tony Kaye’s ensemble drama Detachment and plans a 2012 theatrical release which will run day-and-date with VOD and digital distribution. Adrien Brody stars as an alternative teacher who finds his purpose when he’s designated to some public school, being a role model towards the disaffected youth. Christina Hendricks, James Caan, Marcia Gay Harden, Lucy Liu, Blythe Danner,Tim Blake Nelson, Bryan Cranston and William Petersen also star within the film, which opened this season in the Tribeca fest.Detachment is created by Paper Street Films Austin Stark, Benji Kohn, Chris Papavasiliou and Bingo Gubelmann Kingsgate Films Greg Shapiro and Carl Lund, who authored the script. It's executive created by Brody, Peter Sterling and Andre Laport. Marco Frigeri is co-executive producer. The film from Kaye, the director of yankee History X, was offered by ICM, that also reps Kaye ICM also offered Canadian privileges about the film to Mongrel Media and French privileges to Pretty Pictures. Tribeca’s Nick Savva and Randy Manis discussed the U.S. deal.

When Shooting One Ad Can Prevent You From Shooting Another

When Shooting One Ad Can Prevent You From Shooting Another By Paul Haber September 7, 2011 "Sometimes, with a smaller, regional spot to cast, it's hard to get the best talent in to audition," says commercial casting director David Bellantoni.That statement may seem surprising, especially in a tight job market. Wouldn't most commercial actors want to take a job, any job, that pays a union wage and potential residuals? The answer, for many experienced actors, is no, not necessarily. Why?Bellantoni, who works with Beth Melsky Casting in New York, says actors are reluctant to do a regional commercial because it would prevent them from doing a larger ad campaign that could air nationally. Or, in the parlance of the commercial world, it creates a conflict.In other words, if you book a job for the Bank of Whovillea spot that will air only in one or a few small marketsyou've potentially bumped yourself out of the running for, say, a Bank of America campaign, which would run nationally and pay residuals far exceeding those of the Whoville job. If Bank of America wants you as the face of its multimillion-dollar ad campaign, it doesn't want you also promoting another financial institution, however small. Moreover, Bank of America's national campaign may include print, radio, and Internet ads, which would translate into many thousands of dollars for the actor, above and beyond residuals.But ascertaining what is or isn't a conflict can be tricky. Susan Bott, an actor recognizable from dozens of commercials, including a campaign for Swiffer as Beth, has often found herself facing somewhat convoluted, overlapping conflicts."I shot a Febreze spot," she says, "but I got the vibe on the set that although it was in the can, it wasn't going to run." And indeed, that's exactly what happened. Soon after, she auditioned and got a callback for a Glade campaign, playing "the Glade lady." Before the callback, Bott asked her agents to check with the Febreze people to see if they would let go of the conflict. But the ensuing conversation devolved into something that sounded like it was penned by Gilbert and Sullivan."Even though Febreze affects the air, technically it's a fabric freshener, though Glade would say it affects the air," says the commercial and voiceover veteran. "At the same time, I was doing an on-camera [for] Arm & Hammer Fridge Fresh, but the company kept me on to do the voiceover for their laundry product, and they also make a fabric freshener." So, says Bott with a laugh, "Febreze makes fabric freshener, which also freshens the air, which conflicts with Glade, which is an air-only freshener, while Arm & Hammer freshens clothing." But Bott is philosophical. Sometimes, she adds, "it gets down to the most minute details."Ultimately, Febreze wouldn't let her gothe company held her for another 13 weeks, even though the commercial never airedand she didn't go to the Glade callback. That's a move Bellantoni agrees with."We've had people pulled out right in the middle of callbacks, someone they really wanted," the CD says. "We don't want to show a director someone they can't have." That would make the casting director look bad in front of the client, and it wouldn't endear the actor to anyone.Your agents should keep track of your conflicts, though some are better at it than others. When you get a call for an audition, if the agent doesn't mention what the commercial's conflicts are, ask, as he or she may not recall your conflicts. And there's a lot of overlap. "Telecommunications" once meant the phone companies, for example, but now it could include the Internet, cable, or handsets. "Financial institutions" may (or may not) include banks, credit cards, or brokerages. And "air fresheners"well, it's not so simple."It's frustrating being held for one spot, knowing there won't be any residuals but being prevented from taking another job that will pay," says Bott. In the end, what you audition for should be a carefully considered career decision, with an eye on the long term. "You may book a job that will pay your mortgage right now," she says, "but it could prevent you from making a lot more later on." When Shooting One Ad Can Prevent You From Shooting Another By Paul Haber September 7, 2011 "Sometimes, with a smaller, regional spot to cast, it's hard to get the best talent in to audition," says commercial casting director David Bellantoni.That statement may seem surprising, especially in a tight job market. Wouldn't most commercial actors want to take a job, any job, that pays a union wage and potential residuals? The answer, for many experienced actors, is no, not necessarily. Why?Bellantoni, who works with Beth Melsky Casting in New York, says actors are reluctant to do a regional commercial because it would prevent them from doing a larger ad campaign that could air nationally. Or, in the parlance of the commercial world, it creates a conflict.In other words, if you book a job for the Bank of Whovillea spot that will air only in one or a few small marketsyou've potentially bumped yourself out of the running for, say, a Bank of America campaign, which would run nationally and pay residuals far exceeding those of the Whoville job. If Bank of America wants you as the face of its multimillion-dollar ad campaign, it doesn't want you also promoting another financial institution, however small. Moreover, Bank of America's national campaign may include print, radio, and Internet ads, which would translate into many thousands of dollars for the actor, above and beyond residuals.But ascertaining what is or isn't a conflict can be tricky. Susan Bott, an actor recognizable from dozens of commercials, including a campaign for Swiffer as Beth, has often found herself facing somewhat convoluted, overlapping conflicts."I shot a Febreze spot," she says, "but I got the vibe on the set that although it was in the can, it wasn't going to run." And indeed, that's exactly what happened. Soon after, she auditioned and got a callback for a Glade campaign, playing "the Glade lady." Before the callback, Bott asked her agents to check with the Febreze people to see if they would let go of the conflict. But the ensuing conversation devolved into something that sounded like it was penned by Gilbert and Sullivan."Even though Febreze affects the air, technically it's a fabric freshener, though Glade would say it affects the air," says the commercial and voiceover veteran. "At the same time, I was doing an on-camera [for] Arm & Hammer Fridge Fresh, but the company kept me on to do the voiceover for their laundry product, and they also make a fabric freshener." So, says Bott with a laugh, "Febreze makes fabric freshener, which also freshens the air, which conflicts with Glade, which is an air-only freshener, while Arm & Hammer freshens clothing." But Bott is philosophical. Sometimes, she adds, "it gets down to the most minute details."Ultimately, Febreze wouldn't let her gothe company held her for another 13 weeks, even though the commercial never airedand she didn't go to the Glade callback. That's a move Bellantoni agrees with."We've had people pulled out right in the middle of callbacks, someone they really wanted," the CD says. "We don't want to show a director someone they can't have." That would make the casting director look bad in front of the client, and it wouldn't endear the actor to anyone.Your agents should keep track of your conflicts, though some are better at it than others. When you get a call for an audition, if the agent doesn't mention what the commercial's conflicts are, ask, as he or she may not recall your conflicts. And there's a lot of overlap. "Telecommunications" once meant the phone companies, for example, but now it could include the Internet, cable, or handsets. "Financial institutions" may (or may not) include banks, credit cards, or brokerages. And "air fresheners"well, it's not so simple."It's frustrating being held for one spot, knowing there won't be any residuals but being prevented from taking another job that will pay," says Bott. In the end, what you audition for should be a carefully considered career decision, with an eye on the long term. "You may book a job that will pay your mortgage right now," she says, "but it could prevent you from making a lot more later on."

Strand Releasing nabs 'Michael'

Strand Releasing has acquired all US rights to Markus Schleinzer's drama "Michael" from Les Films du Losange."Michael," which had its world premiere in the main competition at Cannes, focuses in on the last five months of a 10-year-old boy's life under the control of a man who keeps him locked away in a room in a basement.The film will have its North American premiere Friday at the Toronto International Film Festival. It's the debut feature for Schleinzer, whose previous efforts as a casting director include "Dog Days," "white Ribbon and "LOvely Rita."The film has been sold to more than 14 European territories including Artificial Eye in UK, Wild Bunch Benelux , Fidalgo in Norway, Filmcoopi in Switzerland. Films du Losange will release the film in France on Nov. 2.Strand is planning a February release for "Michael' in the U.S. The deal was done between Strand's Jon Gerrans and Les Films du Losange's Agathe Valentin. Contact Dave McNary at dave.mcnary@variety.com

'Funny or Die' Gives Darth Vader Some Extra Lines for the 'Star Wars' Blu-rays (VIDEO)

Remember how that egomaniac George Lucas started changing stuff around in his 'Star Wars' movies even though no one wanted him to? Yeah, that was a bad idea. Luckily, the folks over at Funny or Die have taken issue with Darth Vader's new lines in 'Return of the Jedi' and given him even more lines to work with. So if you were ever wondering what was going through Anakin's head when the Emperor was zapping his son, then wait no longer and click through to see the best thing that's come out of this 'Star Wars' Blu-rays fiasco. Just imagine what Funny or Die could do with the prequels. Would you buy the 'Star Wars' Blu-rays if Funny or Die added voices for the whole cast? [via Funny or Die]

James Toback Isn't Happy About Scorsese and DiCaprio's 'Gambler' Remake

If Martin Scorsese, among the finest company directors ever, was thinking about remaking a movie that you simply authored (and something which was loosely according to your existence), you'd need to be pretty pleased, right? Well, not if you're James Toback. Toback may be the guy behind the 1974 film 'The Gambler,' starring James Caan (who had been nominated for his role as Axel Freed) and Paul Sorvino. Why is Toback upset that Scorsese, together with Leonardo DiCaprio, is going to be remaking his classic? Well, simply because they never gave poor James a manages it had been done. Toback lately required to Deadline to voice his complaints concerning the whole situation. The letter he authored is fairly fascinating, and when you're a fan from the film, it's worth reading through in the whole. However, the stuff regarding his displeasure using the remake is below. It could appear odd that my primary reaction to this news from the purported remake could be something south of "flattered and honored," but you that my primary feeling was among disbelief which i was learning of those plans simultaneously as well as in exactly the same fashion as the regular devoted visitors of the column. It struck me as particularly odd since I've been a buddy and limitless admirer of Leonardo [DiCaprio]'s since our initial encounter in 1994 whenever we were, actually, ready to shut an offer on his playing charge in 'Harvard Man' ... Equally odd wasn't hearing anything from Irwin Winkler who, I had been soon to understand, will be producer about this forecasted latest version because he was about the original. [via Deadline]