Others Director Learns Mockingbird

Bertino stumbles upon some found footageSince Another people will be a surprise hit in 2008, we might have expected its director to leap straight back behind the digital camera. A sum Bryan Bertino do next, we wondered. The answer a great deal of writing and creating, but he's now finally set to direct again, witha found-footage affair tentatively titled Mockingbird.We've known Bertino was concentrating on the script since November, but this really is really the very first we've heard that he'll be pointing it themselves. The film involves a couple of who strangely obtain a videocamera and all of the explicit instructions that they must follow to prevent somebody dying. That's type of as if you acquire one of people annoying emails from the fool friend recommending to forward it to 60 others to prevent armageddon. Except using this you have to undergo a hellish ordeal (and many most likely film it) instead of just tut striking remove.Bertino written an amazing-sounding follow-up for the Others that's presently fighting through development, which is attached in a few capability to Harsh Evening, that's growing from an imitation trailer by Brandon Bestenheider and Allen Bey. He's 4 or 5 other scripts percolating, as well as the indie drama Plastic Jesus, they scripted and co-produced with director Erica Dunton, is presently in publish-production.Mockingbird continues to be produced by Paranormal Activity's Jason Blum (andBD explain that Mockingbird appeared to become the functional title for Paranormal Activity, to make sure that moniker is unquestionably prone to change). There's no indication in Shock's story of whether Blum will be here operating beneath the Haunted Films banner he runs with Oren Peli, or whether he's going it alone for your one.No matter the arrangement behind the curtain, Mockingbird's casting is presently ongoing, and shooting is positioned to start within the finish of February.

Lengthy-gestating 'Lincoln' driven by performances

Day-LewisSpielbergKennedySteven Spielberg continues to be nursing his idea for any movie about Abraham Lincoln subsequently for such a long time it predated American historian Doris Kearns Goodwin's book on Lincoln subsequently and the presidential Cabinet, "Team of Rivals."It -- acclaimed because of its intelligent and fresh stance on Union methods for ending the Civil War, with Lincoln subsequently controlling and finessing a group of prickly and ambitious Whitened House co-workers and allies -- provided Spielberg having a specific narrative spine and concentrate, that also meant ongoing changes to script versions compiled by John Logan and Paul Webb.Tony Kushner, who had formerly labored with Spielberg on "Munich," joined the project and, with Goodwin's book like a key though not exclusive foundation for the film, authored the ultimate script version.Producer Kathleen Kennedy has stated "Lincoln subsequently" -- looking for December release -- is really a performance-driven film, and that's why the cast is striking even by Spielberg's standards. Daniel Day-Lewis plays Lincoln subsequently within the final four several weeks of his existence and presidency, involved in passing the thirteenth Amendment towards the Metabolic rate to solidify the Emancipation Proclamation.Supporting Lewis are Sally Area as Mary Todd Lincoln subsequently Tommy Lee Johnson as congressional anti-slavery firebrand Thaddeus Stevens Bruce McGill as Secretary of War Edwin Stanton David Strathairn as Secretary of Condition William Seward Jared Harris because the Union's most effective commanding general, Lt. Gen. Ulysses S. Grant John Hawkes as Col. Robert Latham and Frederick Gordon-Levitt as Robert Todd Lincoln subsequently, Lincoln's oldest boy.The film's dramatic focus, Spielberg states, is around the operate in the Lincoln subsequently Whitened House, the efforts by Lincoln subsequently to influence occasions, and also the obstacles in the way.An amazing facet of Spielberg's "Lincoln subsequently" is when it is a film bookend of sorts to some great biopic by among Spielberg's key influences, John Ford, and the sublime 1939 "Youthful Mr. Lincoln subsequently," starring a silently stunning Henry Fonda. Ford's depiction of Lincoln subsequently is just one of a potentially great mind in formation, still a rustic lawyer and not even close to the visionary leader. Spielberg's Lincoln subsequently, getting offered a war-filled first term and in early stages into his second, is controlling the fight against the battlefront (apparently unseen within the movie) and also the fierce one out of Washington, dedicated to finally abolishing slavery for good.PGA AWARDSSpielberg: Empire from the stunner Lengthy-gestating 'Lincoln' driven by performances Guild draws line on producer credit Contact the range newsroom at news@variety.com

WGA honors Roth

Eric Roth will receive the Writers Guild of America West's Laurel Award for Screen, honoring lifetime achievement in outstanding writing for motion pictures. The award will be presented at the West Coast ceremony on Feb. 19 at the Hollywood Palladium. "Eric Roth's has traced the larger span of our history and the smaller, individual arcs of the human life. With poetry and humor, he has illuminated time and love and moral responsibility. He has made going to the movies both a stirring emotional education and a true joy," said WGAW President Christopher Keyser. Roth's Academy Award- and WGA Award-winning career has spanned 40 years and includes "Forrest Gump," "The Insider," "Ali," as well as this year's "Extremely Loud and Incredibly Close." Currently, Roth is at work penning an original outer space-themed feature film for Warner Bros., as well as serving as co-executive producer on the new drama series "Luck" and executive producer on the political suspense series "House of Cards." Previous winners of the WGAW's Laurel Award for Screen include Horton Foote, David Mamet, Lawrence Kasdan, Robert Benton, Budd Schulberg, Barry Levinson, and, most recently, Steven Zaillian. Contact Christy Grosz at christy.grosz@variety.com

Why Armie Hammer Almost Turned Clint Eastwood Down

Why Armie Hammer Almost Turned Clint Eastwood Down By Jessica Gardner December 13, 2011 Fresh off playing the Winklevoss twins in "The Social Network," Armie Hammer gives an outstanding supporting performance in Clint Eastwood's "J. Edgar." It's a performance that almost didn't happen, because Hammer initially turned down the audition. His agent called and told him "J. Edgar" casting director Fiona Weir wanted him to audition for the part of Clyde Tolson, J. Edgar Hoover's trusted adviser and lifelong companion. Hammer read the script and thought it was great but didn't understand the character. "He didn't make sense to me," says Hammer. "I didn't get why Clyde stuck around and took Edgar's hot-and-cold abuse. I didn't understand the depth of their love and the complications of their relationship."Hammer passed, telling his agent that if he couldn't understand it, he wouldn't do well in an audition. Weir persisted, telling him "Clint" really wanted him to audition. "I was like, 'Okay, well, now that you use his name like that, I guess I have to come in,' " jokes Hammer. He turned to some of his older, gay friends to help him understand Tolson and Hoover's complex relationshipwhat it was like to be a man in love with a man in a time when such a relationship was completely taboo. Then, he went into Weir's office and asked questions for an hour and a half until he felt comfortable enough to have her put him on tape. A week later, he got a call that Eastwood wanted him for the film. Hammer hired a researcher to help him dig up as much information as he could on Tolson and Hoover. Hammerwho has studied with such teachers as Lesly Kahn, Brian Reise, and currently Deborah Aquilasays he is big on studying and preparation. He approaches acting as intellectually as possible. "I know it's an art of emotion," he says. "But if you're just doing it for emotion every time, it can be wild, cumbersome, and unwieldy, or it might not work. If you truly understand intellectually who these people are or what their deal isnot what they did but why they did it, their headspaceI find it's easy to occupy them." Meeting His Match Although his onscreen relationship with Leonardo DiCaprio, who plays Hoover, was filled with subtext and connection, the two only had one rehearsal before shooting, when DiCaprio invited screenwriter Dustin Lance Black and Hammer over to his house. "We didn't even put things up on their feet," recalls Hammer. "We just read through the script and discussed some scenes. Basically, we both came up with our characters and showed up to set. We didn't even have a discussion about how in love should these guys be or is there any connection. We didn't address it, which I thought was appropriate because they didn't address it. The characters would have never addressed it. It was always like, the elephant in the room. I think that worked out well. But also working with Leo made it so easy. It's like, if you're playing tennis with someone that's better than you, it elevates your game, you know?"For the emotional fight scene, Hammer says he and DiCaprio approached it with as much seriousness and effort as they could bring. "There's so much that I got to do in that scene, which was great," he says. "It's so rare that you get a scene that well-written, where it's like you start at one place and end in a place totally different while taking a huge detour. It was amazing getting to smash glass against the wall and scream and fight and just the fake blood and everything. It was a really intense day."Eastwood Style After working with director David Fincher, known for doing take after take and leaving his actors exhausted by the end of the day, being directed by Eastwood was a change of pace. "They couldn't be more polar opposite," says Hammer. He compares watching Eastwood direct to watching a master glass blower make a vase: "They don't look like they're trying hard. They're just chill. They'll talk to you while they're doing it. Then all of a sudden they're done, and you have a perfect vase. That's what it's like with Clint. It's like it doesn't require effort for him to do what he does. You think that you're not working hard enough, but in reality you just have to learn how to trust him."Eastwood decided that when it was time for the actors' faces to age, they wouldn't use CGI but instead would act through latex masks. On the first day of wearing the mask and makeup (which took eight hours to apply), Hammer discovered the challenges. He spent time looking in a mirror, figuring out how to make himself look like he was naturally smiling, squinting, and grimacing. "I had to learn how my face worked," he says. "You have to emote much more to get what you're trying to get across to come through a quarter inch of latex that's superglued to your face." In true Eastwood style, no coaches were hired to help the actors with mask acting. "Figure it out on your own. Figure it out as you go. But you better figure it out quick," Hammer says. Even though it was challenging, Hammer was thrilled with the decision. "It felt really nostalgic," he says. "We got to make a movie the old-fashioned way, without computers and all the nonsense that goes into it. The movie looked exactly the same as if they shot it in 1950. It was an old-school, nostalgic movie that an old-school, nostalgic director made."Outtakes Had a dentist inject his whole mouth with Novocain to simulate what it would be like to try to talk after having a stroke. Didn't meet Eastwood until two days before filming: At the DGA Awards, Kevin Spacey, executive producer of "The Social Network," introduced them after finding out they hadn't met. Says his first day on set was terrifying: "I was sitting in between Leonardo DiCaprio, Clint Eastwood, Dustin Lance Black, and Dame Judi Dench. I was like, 'What the hell am I doing here?' But you can't make a diamond without pressure, you know? Knowing I was up against these legends, it put the fear of failure into me, so I had to overcome it."Upcoming roles include Prince Andrew Alcott in "Mirror Mirror" and John Reid/The Lone Ranger in "The Lone Ranger" opposite Johnny Depp. Why Armie Hammer Almost Turned Clint Eastwood Down By Jessica Gardner December 13, 2011 Fresh off playing the Winklevoss twins in "The Social Network," Armie Hammer gives an outstanding supporting performance in Clint Eastwood's "J. Edgar." It's a performance that almost didn't happen, because Hammer initially turned down the audition. His agent called and told him "J. Edgar" casting director Fiona Weir wanted him to audition for the part of Clyde Tolson, J. Edgar Hoover's trusted adviser and lifelong companion. Hammer read the script and thought it was great but didn't understand the character. "He didn't make sense to me," says Hammer. "I didn't get why Clyde stuck around and took Edgar's hot-and-cold abuse. I didn't understand the depth of their love and the complications of their relationship."Hammer passed, telling his agent that if he couldn't understand it, he wouldn't do well in an audition. Weir persisted, telling him "Clint" really wanted him to audition. "I was like, 'Okay, well, now that you use his name like that, I guess I have to come in,' " jokes Hammer. He turned to some of his older, gay friends to help him understand Tolson and Hoover's complex relationshipwhat it was like to be a man in love with a man in a time when such a relationship was completely taboo. Then, he went into Weir's office and asked questions for an hour and a half until he felt comfortable enough to have her put him on tape. A week later, he got a call that Eastwood wanted him for the film. Hammer hired a researcher to help him dig up as much information as he could on Tolson and Hoover. Hammerwho has studied with such teachers as Lesly Kahn, Brian Reise, and currently Deborah Aquilasays he is big on studying and preparation. He approaches acting as intellectually as possible. "I know it's an art of emotion," he says. "But if you're just doing it for emotion every time, it can be wild, cumbersome, and unwieldy, or it might not work. If you truly understand intellectually who these people are or what their deal isnot what they did but why they did it, their headspaceI find it's easy to occupy them." Meeting His Match Although his onscreen relationship with Leonardo DiCaprio, who plays Hoover, was filled with subtext and connection, the two only had one rehearsal before shooting, when DiCaprio invited screenwriter Dustin Lance Black and Hammer over to his house. "We didn't even put things up on their feet," recalls Hammer. "We just read through the script and discussed some scenes. Basically, we both came up with our characters and showed up to set. We didn't even have a discussion about how in love should these guys be or is there any connection. We didn't address it, which I thought was appropriate because they didn't address it. The characters would have never addressed it. It was always like, the elephant in the room. I think that worked out well. But also working with Leo made it so easy. It's like, if you're playing tennis with someone that's better than you, it elevates your game, you know?"For the emotional fight scene, Hammer says he and DiCaprio approached it with as much seriousness and effort as they could bring. "There's so much that I got to do in that scene, which was great," he says. "It's so rare that you get a scene that well-written, where it's like you start at one place and end in a place totally different while taking a huge detour. It was amazing getting to smash glass against the wall and scream and fight and just the fake blood and everything. It was a really intense day."Eastwood Style After working with director David Fincher, known for doing take after take and leaving his actors exhausted by the end of the day, being directed by Eastwood was a change of pace. "They couldn't be more polar opposite," says Hammer. He compares watching Eastwood direct to watching a master glass blower make a vase: "They don't look like they're trying hard. They're just chill. They'll talk to you while they're doing it. Then all of a sudden they're done, and you have a perfect vase. That's what it's like with Clint. It's like it doesn't require effort for him to do what he does. You think that you're not working hard enough, but in reality you just have to learn how to trust him."Eastwood decided that when it was time for the actors' faces to age, they wouldn't use CGI but instead would act through latex masks. On the first day of wearing the mask and makeup (which took eight hours to apply), Hammer discovered the challenges. He spent time looking in a mirror, figuring out how to make himself look like he was naturally smiling, squinting, and grimacing. "I had to learn how my face worked," he says. "You have to emote much more to get what you're trying to get across to come through a quarter inch of latex that's superglued to your face." In true Eastwood style, no coaches were hired to help the actors with mask acting. "Figure it out on your own. Figure it out as you go. But you better figure it out quick," Hammer says. Even though it was challenging, Hammer was thrilled with the decision. "It felt really nostalgic," he says. "We got to make a movie the old-fashioned way, without computers and all the nonsense that goes into it. The movie looked exactly the same as if they shot it in 1950. It was an old-school, nostalgic movie that an old-school, nostalgic director made."Outtakes Had a dentist inject his whole mouth with Novocain to simulate what it would be like to try to talk after having a stroke. Didn't meet Eastwood until two days before filming: At the DGA Awards, Kevin Spacey, executive producer of "The Social Network," introduced them after finding out they hadn't met. Says his first day on set was terrifying: "I was sitting in between Leonardo DiCaprio, Clint Eastwood, Dustin Lance Black, and Dame Judi Dench. I was like, 'What the hell am I doing here?' But you can't make a diamond without pressure, you know? Knowing I was up against these legends, it put the fear of failure into me, so I had to overcome it."Upcoming roles include Prince Andrew Alcott in "Mirror Mirror" and John Reid/The Lone Ranger in "The Lone Ranger" opposite Johnny Depp.

'Flowers of War' Director Zhang Yimou Reveals Steven Spielberg's Role in Casting Christian Bale

Directorial novice Angelina Jolie(In the Land of Blood and Honey) and her Kung Fu Panda 2 director Jennifer Yuh Nelson, the highest-grossing female director of all time, were shot by Peggy Sirota for the cover of the currentHollywood Reporter. Recently, they sat down with THRsenior film writer Pamela McClintock for a frank discussion on the lack of female directors in Hollywood, their own directorial mentors, feelings on awards nominations (Panda 2 leads the Annie noms with 12 and Blood and Honey could get a Golden Globe nomination for best foreign language film) and the status of a Kung Fu Panda 3. Jolie also opens up about being a first-time director, explaining how she got a "famously unsuccessful" topic (war) funded, when she found the time to write and what really happened to shut down the Bosnia set ofBlood and Honey, which opens in limited release Dec. 23.our editor recommendsAngelina Jolie's 'In the Land of Blood and Honey': 4 New Clips Depict the Bosnian War (Video)Angelina Jolie Explains Choosing 'Blood and Honey' for Directorial Debut (Video)'Kung Fu Panda 2' Leads Annie Award Nominations'Kung Fu Panda 2' Crosses $300 Million OffshoreFEINBERG FORECAST: 'War Horse,' 'Extremely Loud,' 'Dragon Tattoo,' 'Iron Lady' and 'Blood and Honey' Remain Question Marks Their interview ran as a part of THR's larger female directors package, highlighting Vera Farmiga (Higher Ground), Dee Rees (Pariah), Phyllida Lloyd (The Iron Lady), Lorene Scafaria (Seeking a Friend for the End of the World) and Patty Jenkins (Monster). PHOTOS: 5 of Hollywood's Female Directors To Know WHAT THEY SAY ABOUT HOLLYWOOD'S DEARTH OF FEMALE DIRECTORS Although neither would label herself an activist for female causes per se, the duo are mystified as to why there aren't more women directors -- only 13.4 percent of the DGA's director members are female. To boot,Kung Fu Panda 2is only the second animated studio pic solely directed by a woman, afterThe Tigger Movie. Angelina Jolie:"Isn't that crazy? Animated films are so family-oriented, you'd think that there would be women." Jennifer Yuh Nelson:I don't think about the gender thing very much. But when I speak at schools, I've had female students say to me afterwards, "I never envisioned myself being a director, since I've never seen women do it." But after seeing me, they can picture themselves directing, so maybe we'll see more female directors. And half of these kids in art and animation schools are girls. PHOTOS: The Kung Fu Panda 2 Premiere ON MAKING THE SECONDKUNG FU PANDA AND WHY IT TOOK THREE YEARS Nelson:It's a long process, and you have to know exactly what's going to happen next. You can't do coverage. Everything has to be planned ahead of time. And you have to make sure that people are still motivated and happy and creatively challenged so that it can all be stitched together. The voice acting starts after a lot of the storyboards are done. With Angie, things would change when we got into the booth and played with her lines. We would discover things in the moment and rewrite the script on the spot. She really knows the character, so when she would say, "A tiger wouldn't say that," she was absolutely right. She gives Tigress that extra level, and that's why people like the character so much. Sometimes, Angie's kids would be in the booth with me. [Jolie's son] Maddox would say, "That take was good," and I'd think, OK, he likes it, let's take that one. Jolie:On the firstKung Fu Panda, I would fight a line. With Jen, she would politely say, "Can we just try it?" And you kind of melt and say, "OK." She is a genuine artist who can see the bigger picture. And, fortunately, I've scored some points at home because of Kung Fu Panda. They love Tigress, who is my alternate personality. Otherwise, they think Brad [Pitt] and I are just so not cool. PHOTOS: Angelina Jolie's Top 10 Red Carpet Looks THEIR DIRECTORIAL ROLE MODELS Jolie:I've had the fortunate experience of working with so many interesting directors, from Michael Winterbottom to Clint Eastwood. I tried to remember the experiences that were my best as an actor, and what a director did to give me comfort and confidence. And I tried to keep a happy crew, which I learned a lot about from Clint and Jen. Nelson:I remember being in the middle ofKung Fu Panda, which took three years, and everyone was upset and tired and wondering if we were ever going to see the light at the end of the tunnel, and Guillermo del Toro stopped by and gave me the "man" speech. He said, "You've gotta man up and take this, and don't be scared of making bold choices." He was such a great supporter. PHOTOS: 'The Tourist's' Style JOLIE PERSONALLY FUNDED LARGE CHUNK OF IN THE LAND OF BLOOD AND HONEY'S $15 MILLION BUDGET;GRAHAM KING PUT UP THE REST Jolie:I worked with him onThe Tourist, and one day I asked him if he'd read my script. I didn't know how he'd react, since on many levels, this was a big risk. I wasn't going to star in it, and I wanted to cast all local actors. It wasn't a pile of good news for him. But he was great, and he took the chance. PHOTOS: Hollywood's 10 Highest-Paid Actresses WHEN SHE FOUND THE TIME TO WRITE THE SCRIPT Jolie:I wrote whenever I could, when the kids were asleep or in their classes. Halfway through some of the most horrific scenes, I'd hear, "Mommy, I need another story, I can't go to sleep," and so I'd pause what I was doing and go tell happy stories about bunny villages. I studied a lot about the war, and watched a lot of documentaries.They won't see this movie. They know that mommy, on occasion, goes off to Libya or other places. I make them very conscious of the fact that there are a lot of people struggling through different things, and I don't protect them from the fact that war isn't a video game, it's a very, very horrible thing. THE REAL STORY BEHIND THE BOSNIAN WOMAN WHO PROTESTED HER MOVIE Before reading her script, the Bosnian government temporarily suspended Jolie's filming permit when the Association of Women Victims of War in Bosnia objected to a Muslim woman falling in love with her Serb captor. But, that wasn't the case -- the two fall in love before the war starts -- so the film's permit was reissued. Jolie:There was one woman who hadn't read the script, and who didn't want to meet with me. This is a very sensitive subject for someone who lived through these things. It's only been 15 years since the war and it's a painful memory. In my heart, the film was done on behalf of all people who suffered through this. A lot of women's groups have seen it, and the NY premiere of the movie was co-sponsored by Women for Women International, another group founded after the war in Bosnia. They felt it was the right thing to support it. Nelson:It's definitely not a passive movie and it makes you think. VIDEOS: 4 Clips From 'In the Land of Blood and Honey' THE STATUS OF KUNG FU PANDA 3 Nelson:There's plenty left to tell. Jolie:We can say we are in discussions. Tigress is my alternate personality, especially with children. I love animation because you get to do things you don't normally get to. For one, I could bring my kids and wear my pajamas, and hang out with Jen. And my character is just so badass. Nelson:And the stunts are safe. Jolie:Yes, eating pizza is the hardest stunt we did. To read THR's full cover story, click here>> FEMALE DIRECTORS AT THE WORLD BOX OFFICE 1.Kung Fu Panda 2: $663 million DAW/Paramount (2011) Jennifer Yuh Nelson's sequel narrowly bested the $631.7 million earned by the originalKung Fu Panda. 2.Mamma Mia!:$609.8 million Universal (2008) Phyllida Lloyd's film adaptation grossed an astounding $465.7 million overseas. 3.Alvin and the Chipmunks: The SqueakQuel: $443.1 million Fox (2009) Director Betty Thomas' other credits includeDoctor Dolittleand28 Days. 4.Twilight: $392.6 million Summit (2008) Catherine Hardwicke's pic proved that women and girls are as fervent as fanboys. 4.What Women Want: $374.1 million Paramount (2000) Like Nora Ephron and Penny Marshall, director Nancy Meyers has cracked the studio system, primarily with romantic comedies. Anne Fletcher is another to watch, withThe Proposalearning $443.1 million. PHOTO GALLERY: View Gallery 'Hangover II' & 'Kung Fu Panda 2' Premieres Related Topics Annie Awards Golden Globes Angelina Jolie Brad Pitt Clint Eastwood Kung Fu Panda 2 Kung Fu Panda In the Land of Blood and Honey Awards Season Preview

'Valley,' 'Benghazi' win at Latin Side in the Doc

BUENOS AIRES -- Carlos Caridad Montero's "Beyond the Silicone Valley" and Nathalia Orozco's "Benghazi, Beyond the Front Line" needed top honors Thursday within the 3rd Doc Buenos Aires/Latin Side in the Doc, Latin America's top doc co-production forum. Nabbing the Arte France Prize together with a Sunny Side in the Doc Prix Coup p Coeur, "Valley" can be a "funny, ironic but furthermore deep analysis of Venezuela's beauty industry," mentioned Roberto Blatt, director of content and development at Spain's Chello Multicanal. Pitched with passion by Orozco, "Benghazi" captures the anticipation of Libya's middle classes through the Arab Spring. Orozco closed a co-production pact in Buenos Aires with Colombia's E-nnovva so when TV Mexico, she mentioned. Straddling Chile and Italia, Constanza Fernandez's mouth-watering food doc "Levaggi" needed the Cono Sur Award. Professionals from Arte France, France Televisions, Al-Jazeera Network, ARD, Sundance Institute and Link Media figured among 68 customers at LSD/BDA. In 2012, LSD will move from Argentina to mid-November's Mexico City DocsDF Festival. "Mexico is a perfect platform to mix documentaries within the Americas," mentioned LSD mind Yves Jeanneau. Pubcaster Once TV Mexico will sponsor DocsDF and LSD, added Once TV gm Rafael Lugo Sanchez. "DocsDF grows. We are growing. Documentaries have a very extended history in Mexico," he mentioned. This August, Once TV launched Documents 360, per week day primetime docu slot. DBA will overlap a couple of days with 2012's Ventana Sur and morph in the meet with a four-day sister docu mart, hosting a difficult-cut docu showcase and completed docu feature tests, mentioned DBA director Marcelo Cespedes. DBS/LSD went 12 ,. 6-8. As well as the individuals who win are: ARTE PRIZE "Beyond the Silicone Valley," (Carlos Caridad Montero, Venezuela) SUNNY SIDE In The DOC PRIX COUP P COEUR "Benghazi, Beyond the Front Line" (Nathalia Orozco, France, Argentina, Colombia, Mexico) "Beyond the Silicone Valley," (Carlos Caridad Montero, Venezuela) CONO SUR PRIZE "Levaggi," (Constanza Fernandez, Chile) STAGNARO LABORATORY PRIZE "Jorge Sanjines, The Courage from the Cinema Alongside the folksInch (Alejandro Zarate Rotor rotor blades, Bolivia) Appear Publish-PRODUCTION PRIZE "Where Had You Been? (Through the U.S. Invasion of Panama)" (Abner Benaim, Panama) ARGENTINA HIGH-DEFINITION PRIZE "Puerto Alvira," (Hector Ulloque Franco, Manuel Ruiz Montealegre, Colombia) Contact the number newsroom at news@variety.com

'The Lucky One' Trailer Starring Zac Efron Hits the Web (Video)

Chris Helcermanas-Benge/Summit Entertainment What follows is my latest assessment of the two Oscar categories devoted to screenplays -- best adapted screenplay and best original screenplay -- along with commentary about which contenders in each have positive and negative momentum at the moment. I welcome your thoughts in the comments section at the bottom of the post.our editor recommendsFEINBERG FORECAST: 'Dragon Tattoo' and 'Extremely Loud' Last Contenders to ScreenYear of the Hunk: How George Clooney, Brad Pitt Could Save the Oscars 'Glee' Cast Raises Money for Budding Screenwriters at Young Storytellers Annual Benefit PHOTOS: Oscar Show Moments Best Adapted Screenplay 1. Alexander Payne, Nat Faxon, Jim Rash (The Descendants) Payne, who won this category seven years ago, appears to be the frontrunner again. Last week, he and his co-adapters of Kaui Hart Hemmings' novel won the NBR's best adapted screenplay prize and were nominated for best screenplay by the Indie Spirits. 2. Stan Chervin, Aaron Sorkin, Steven Zaillian (Moneyball) This moving adaptation of Michael Lewis' best-seller was released way back in September and had begun to fade from the discussion, but then last week the NY Film Critics chose its star Brad Pitt as its best actor and the film as its best screenplay, and seem to have revived interest in it. 3. John Logan (Hugo) The charming film version of the popular kids book The Invention of Hugo Cabret is red-hot at the moment, making Logan -- who was previously nominated for best original screenplay Gladiator (2000) and The Aviator (2004) and might also earn a nod in that category this year for Rango -- an increasingly good bet. 4. Richard Curtis, Lee Hall (War Horse) This take on the hit Broadway play of the same title was penned by two previous nominees for best original screenplay -- for Four Weddings and a Funeral (1994) and Billy Elliot (2000), respectively -- but it's only just beginning to screen, so the jury is still out on its prospects. 5. Tate Taylor (The Help) The the strongest element of the film is its performances, not its script (which has yet to be recognized by any awards-dispensing group), but I expect that enough voters will want to champion its message to propel it into the field. 6. Eric Roth (Extremely Loud and Incredibly Close) Roth, who won this category's Oscar 17 years ago for Forrest Gump (1994) and has been nominated for it three other times since then, is back with another deeply moving film set against a historical backdrop. 7. Steven Zaillian (The Girl with the Dragon Tattoo) The NY Film Critics Circle delayed their vote in order to screen this second adaptation of Stieg Larsson's hit book -- the first in English -- and then elected not to recognize it in any category. The NBR, on the other hand, named star Rooney Mara as its best breakthrough actor and the film as one of the year's 10 best. 8. Bridget O'Connor, Peter Straughan (Tinker Tailor Soldier Spy) This thickly-layered adaptation of John le Carre's novel, which many have struggled to follow, is in a rut: it was completely shut out by the Gothams, Indie Spirits, National Board of Review, and NY Film Critics Circle, and not even the British Independent Film Awards could find room for it in their screenplay category. 9. Hossein Amini (Drive) It turns out this neo-noir actioner has more than just a cult following -- last week, the NY Film Critics Circle awarded it best supporting actor (Albert Brooks); the Indie Spirits nominated it for best feature, best director, best actor (Ryan Gosling), and best supporting actor (Brooks); and the NBR named it one of the year's top 10 films. 10. George Clooney, Grant Heslov (The Ides of March) The buzz for this political-thriller has come to a virtual standstill, with awards-dispensing groups passing on it even though embracing it might result in having Clooney -- who, along with Heslov, scored a best original screenplay Oscar nod six years ago for Good Night and Good Luck (2005) -- show up at their events. Best Original Screenplay 1. Michel Hazanavicius (The Artist) Just because it's silent doesn't mean it didn't have a great script laying out its various scenarios, as Indie Spirits voters acknowledged by nominating it for best screenplay last week, capping off a stretch in which it also was named the year's best film by the NY Film Critics Circle and one of the top 10 films of the year by the NBR. 2. Woody Allen (Midnight in Paris) Though there are passionate supporters of this May release, they haven't been able to propel it to any awards attention, thus far, which is a bit troublesome: it was denied nods for pic, director, or screenplay by the Indie Spirits, and was completely shut out by the Gotham Awards and NBR. (The fact that Allen never puts his name on screeners of his films can't help matters.) 3. Mike Mills (Beginners) Somewhat unexpectedly, this little indie has come surging back to life, winning best feature (in a tie with The Tree of Life) and best ensemble at the Gothams; earning best supporting actor honors (Christopher Plummer) and a spot on the list of the year's top 10 indie films by the NBR; and garnering feature, director, supporting actor, and, yes, screenplay nods from the Indie Spirits. 4. J.C. Chandor (Margin Call) Chandor's first script was strong enough and timely enough to attract a horde of A-list actors, and the resulting film is now a runaway hit on VOD. Last week, he received Indie Spirit nods for best first film and best first screenplay; was named best debut director by the NBR (which also listed the film as one of the year's top 10 indies); and won best first feature from the NY Film Critics Circle. 5. Tom McCarthy (Win Win) McCarthy, a giant on the indie scene, was nominated in this category two years ago for Up (2009), and should have been on at least two other occasions, as well. This film came out way back in March, but seems to have stuck in people's minds: it just scored a best screenplay Indie Spirit nod and was chosen as one of the year's top 10 indies by the NBR. 6. Will Reiser (50/50) Reiser's semi-autobiographical script about cancer has provoked laughter and tears from audiences since its release in September, and now it's getting rewarded for it: last week, he won the NBR's award for best original screenplay and was nominated for the Indie Spirit Award for best first screenplay. 7. James Ward Byrkit, John Logan, Gore Verbinski (Rango) An animated film has scored a best original screenplay nod in five out of the last eight years -- Finding Nemo (2003), The Incredibles (2004), Ratatouille (2007), WALL-E (2008), and Up (2009) -- but every one of those came from Pixar, whereas this one does not. Still, with industry stalwarts like Logan and Verbinski involved, maybe that trend can be broken. 8. Terrence Malick (The Tree of Life) Malick's latest film is, like The Artist, largely silent, but the strange and moving scenarios of which it is comprised are unmistakably his own. People remain deeply divided over the film itself, but it had enough supporters to win best feature at the Gothams and best actor and best cinematography at the NYFCC. 9. Dustin Lance Black (J. Edgar) The film just hasn't clicked critically (it has a dismal 41% rating on Rotten Tomatoes) or commercially (after over four weeks in release it still hasn't recouped its $35 million budget), and the basis of several of its central claims have been called into serious question, which may explain why it has been a virtual non-factor on the awards circuit, thus far. 10. Diablo Cody (Young Adult) Though many find the script's central character to be utterly repugnant, it never hurts to have high-profile champions like Quentin Tarantino, who said at the Hollywood Awards, where Cody was honored for her script, that she is "in the class of a Paddy Chayefsky [and] William Goldman." PHOTO GALLERY: View Gallery Oscar Shockers