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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Shia LaBeouf and Alec Baldwin “Incompatible”? Actor tweets about exit From “Orphans”

(Please note that this story contains strong language in paragraphs 10 and 21.)

LOS ANGELES (TheWrap.com) – Shia LaBeouf is taking a cue from his former co-star Alec Baldwin and using Twitter to defend his actions – in this case his split from “Orphans” on Broadway.

The show, which begins previews in less than a month, was to be the “Transformers” star’s Great White Way debut. In a brief statement Wednesday, the actor’s departure was attributed to those pesky “creative differences.”

But LaBeouf, whose propensity to over-share has gotten him in trouble in the past, took to Twitter within hours of the announcement to post private emails from the show’s director Daniel Sullivan and co-stars Baldwin and Tom Sturridge.

He also mused about the role of theater in society and posted his audition video for the show (he’s twitchy, intense and, it must be said, pretty convincing as a criminal with a short fuse).

The correspondence does little to clarify the reasons for his abrupt exit, though his exchange with Sullivan hints at chemistry issues with Baldwin.

“I’m too old for disagreeable situations,” Sullivan writes. “You’re one hell of a great actor. Alec is who he is. You are who you are. You two are incompatible. I should have known it. This one will haunt me. You tried to warn me. You said you were a different breed. I didn’t get it.”

But an individual close to the production told TheWrap that the split had nothing to do with Baldwin; it was due to conflicts between the star and the show’s producers, Frederick Zollo and Robert Cole.

Spokespeople for the production did not respond to requests for comment.

In his emails, LaBeouf also demonstrates a flair for the dramatic that New York theater critics will be denied an opportunity to see in the flesh.

“My dad was a drug dealer,” LaBeouf writes. “He was a shit human. But he was a man. He taught me how to be a man. What I know of men Alec is.”

“A man owns up,” he adds. “That’s why Mark McGuire is not a man.”

If the message from Baldwin is to be believed, LaBeouf’s former cast-mate wishes him well.

After LaBeouf apologizes for creating a “disagreeable situation,” Baldwin assures him he doesn’t have an “unkind word to say about you.”

“I’ve been through this before,” Baldwin writes. “It’s been a while. And perhaps some of the particulars are different. But it comes down to the fact that what we all do now is critical. Perhaps especially for you. When the change comes, how do we handle it, whether it be good or bad? What do we learn?”

A spokesman for Baldwin declined to comment and a spokeswoman for LaBeouf did not respond to requests for comment.

Sturridge also is complimentary in his note to LaBeouf.

“I was stunned by the work you were doing, the performance you were giving,” he writes.”I think you lifted the play to a place higher than maybe it even deserved to be.”

This is not the first time that LaBeouf has gotten in trouble for running his mouth off in public. In the past he irritated Steven Spielberg by speaking ill of their collaboration on “Indiana Jones and the Kingdom of the Crystal Skull”; said Oliver Stone played too nice when they teamed up on “Wall Street 2: Money Never Sleeps,” and once revealed that he hooked up with “Transformers” co-star Megan Fox when she was on a break from her husband Brian Austin Green.

His frank talk and propensity to criticize former collaborators has inspired at least one high-profile rebuke.

Harrison Ford told Details Magazine that he was displeased by his co-stars comments about the Indiana Jones sequel.

“I think I told him he was a f—ing idiot,” Ford said. “As an actor, I think it’s my obligation to support the film without making a complete ass of myself.”

On Wednesday and Thursday, LaBeouf also took the opportunity to share some colorful thoughts about acting, as well as some historical lessons of questionable veracity.

“Actors used to be buried with a stake through the heart,” he tweeted. “Those peoples performances so troubled on-lookers that they feared their ghosts.”

Oh, and based on his messages with Rick Sordelet, the show’s fight director and a faculty member at Yale University’s drama school, an MFA may be in LaBeouf’s future…possibly one from a certain New Haven-based institute of higher learning.

In a message, Sordelet hails LaBeouf’s work ethic and says he has been in touch with the head of the school’s acting program about having him matriculate.

“It must have been difficult for others in the room to be schooled by someone who’s raw talent and enthusiasm out matched theirs,” Sordelet writes.

Sounds like somebody might be passing James Franco on the quad some day soon.

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“Scary Spice” Mel B joins “America’s Got Talent” panel

LOS ANGELES (Reuters) – Former Spice Girl Mel B will join the judging panel on summer TV talent show “America‘s Got Talent,” broadcaster NBC said on Thursday.

The 37-year-old Briton, known by the nickname Scary Spice when she was part of the chart-topping 1990s British girl band, will replace Sharon Osbourne who quit the series in a dispute with NBC over their decision to drop her son Jack from another reality show.

Mel B, whose full name is Melanie Brown, will join “shock jock” Howard Stern, who has agreed to return for his second season, and comedian Howie Mandel.

“This exciting addition of the dynamic Mel B to our lineup of judges promises that fans will see a strong, talented and opinionated woman match up against our equally outspoken judges Howard Stern and Howie Mandel,” NBC president of alternative programming Paul Telegdy said in a statement.

Mel B said she was thrilled to join the talent show, adding in a statement, “It’s so exciting to be bringing some Girl Power to the panel!”

The singer recently finished a two-season stint as a judge on singing contest “The X Factor,” which like “America’s Got Talent” was created by British entrepreneur Simon Cowell.

NBC said nationwide auditions for the new season of “America’s Got Talent” will start on March 4 in New Orleans.

The network is seeking to turn around a fall in audiences last year when the finale in September was watched by a record low of under 11 million viewers, according to ratings data.

The show remained the top-rated summer series among adults aged 18-49, the demographic most coveted by advertisers.

NBC attributed the overall 2012 audience decline partly to an earlier start that pitted “Got Talent” against end-of-season original programming in May and the start of new TV shows in September.

(Reporting by Mike Collett-White and Jill Serjeant; Editing by Cynthia Osterman)

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“The Americans” renewed by FX for second season

LOS ANGELES (TheWrap.com) – “The Americans” has been picked up by FX for a 13-episode second season, network president John Landgraf said on Thursday.

The renewal comes just four episodes into the first season of the series, which premiered in January with 5.11 million total viewers to become the most-watched debut of any FX series.

FX’s newest hit drama to join the roster of original programming stars Keri Russell and Matthew Rhys as two KGB spies posing as an American married couple in suburban Washington D.C.

“‘The Americans’ has quickly established itself as a key part FX’s acclaimed drama line-up,” Landgraf said. “Executive Producers Joe Weisberg, Joel Fields and Graham Yost and their collaborators are telling riveting and deeply emotional stories and the performances of Keri Russell, Matthew Rhys, Noah Emmerich and the entire cast are simply outstanding. The show is truly worthy of its widespread critical acclaim and we are confident that its quality will continue to yield a robust and passionate audience.”

“We’re very grateful to John Landgraf, Nick Grad, Eric Schrier and everyone at FX for their unwavering support of our show,” Weisberg, the show’s creator, said. “We’re thrilled to be able to continue writing stories for such an incredibly talented cast led by Keri, Matthew and Noah. We appreciate the support of the audience and we believe they have a lot to look forward to the rest of this season.”

“Working with Joe Weisberg, Graham Yost, Josh Brand, Adam Arkin, our writing staff, and the brilliant cast and crew has been a blast and I’m delighted we get to keep doing it,” co-executive producer Fields added. “We couldn’t have made it happen without the constant support of Justin Falvey and Darryl Frank at Amblin TV, David Madden at Fox Television Studios and Eric Schrier at FX Productions and their wonderful teams as well.”

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‘Good Day to Die Hard’ debuts with $28.6M take

LOS ANGELES (AP) — Bruce Willis’ action sequel “A Good Day to Die Hard” hauled in $ 28.6 million to lead the box office over the long President’s Day weekend.

The top 20 movies at U.S. and Canadian theaters Friday through Monday, followed by distribution studio, gross, number of theater locations, average receipts per location, total gross and number of weeks in release, as compiled Tuesday by Hollywood.com are:

1. “A Good Day to Die Hard,” Fox, $ 28,640,657, 3,553 locations, $ 8,061 average, $ 36,879,773, one week.

2. “Identity Thief,” Universal, $ 27,456,470, 3,165 locations, $ 8,675 average, $ 74,744,255, two weeks.

3. “Safe Haven,” Relativity Media, $ 24,469,155, 3,223 locations, $ 7,592 average, $ 33,298,073, one week.

4. “Escape from Planet Earth,” Weinstein Co., $ 21,101,976, 3,288 locations, $ 6,418 average, $ 21,101,976, one week.

5. “Warm Bodies,” Lionsgate, $ 10,550,103, 2,897 locations, $ 3,642 average, $ 51,770,634, three weeks.

6. “Beautiful Creatures,” Warner Bros., $ 8,945,261, 2,950 locations, $ 3,032 average, $ 11,487,578, one week.

7. “Silver Linings Playbook,” Weinstein Co., $ 7,413,756, 2,202 locations, $ 3,367 average, $ 99,788,228, 14 weeks.

8. “Side Effects,” Open Road Films, $ 7,299,145, 2,605 locations, $ 2,802 average, $ 20,119,981, two weeks.

9. “Hansel and Gretel: Witch Hunters,” Paramount, $ 4,176,456, 2,103 locations, $ 1,986 average, $ 50,405,251, four weeks.

10. “Zero Dark Thirty,” Sony, $ 3,602,315, 1,522 locations, $ 2,367 average, $ 88,530,983, nine weeks.

11. “Mama,” Universal, $ 3,081,765, 1,648 locations, $ 1,870 average, $ 68,561,940, five weeks.

12. “Argo,” Warner Bros., $ 2,625,357, 903 locations, $ 2,907 average, $ 127,288,409, 19 weeks.

13. “Life of Pi,” Fox, $ 2,074,617, 647 locations, $ 3,207 average, $ 111,376,518, 13 weeks.

14. “Lincoln,” Disney, $ 2,063,120, 1,007 locations, $ 2,049 average, $ 176,651,047, 15 weeks.

15. “Django Unchained,” Weinstein Co., $ 1,857,164, 1,017 locations, $ 1,826 average, $ 157,350,147, eight weeks.

16. “Quartet,” Weinstein Co., $ 1,624,647, 333 locations, $ 4,879 average, $ 7,200,664, six weeks.

17. “The Hobbit: An Unexpected Journey,” Warner Bros., $ 1,276,940, 605 locations, $ 2,111 average, $ 300,161,285, 10 weeks.

18. “Wreck-It Ralph,” Disney, $ 1,102,070, 506 locations, $ 2,178 average, $ 185,835,929, 16 weeks.

19. “Les Miserables,” Universal, $ 1,098,445, 676 locations, $ 1,625 average, $ 145,764,425, eight weeks.

20. “Amour,” Sony Pictures Classics, $ 858,412, 306 locations, $ 2,805 average, $ 4,081,541, nine weeks.

___

Online:

http://www.hollywood.com

___

Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Obama State of Union speech watched by 33.5 million on TV

(Reuters) – Some 33.5 million Americans tuned in for President Barack Obama‘s economy-focused State of the Union speech live on television, just a slight drop from the TV audience for his 2012 address.

According to ratings data from Nielsen on Wednesday, Obama’s speech on Tuesday night was carried live on 15 U.S. broadcast and cable networks and was tape-delayed on Spanish-language channel Univision.

In an assertive start to his second term, Obama urged the sharply divided U.S. Congress to raise the minimum wage and strive for economic fairness for Americans hit by unemployment and four years of recession.

The TV audience for Obama’s annual State of the Union addresses has dropped off sharply since he was first elected, from 52.4 million in 2009 to 37.7 million in 2012.

The most-watched television event in the United States is the annual Super Bowl, which drew some 108.7 million viewers earlier in February.

The Nielsen figures do not take into account viewers watching online or on mobile devices.

(Reporting By Jill Serjeant; Editing by Leslie Gevirtz)

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“Endless Love” leads Billboard’s top love songs

NEW YORK (Reuters) – When it comes to love, sometimes old songs say it best.

The 1981 Motown ballad “Endless Love” by Diana Ross and Lionel Richie topped Billboard magazine’s “Top 50 ‘Love’ Songs of All Time” list on Wednesday, just in time for Valentine’s Day.

The duet, written by Richie and used as the theme song for Franco Zeffirelli‘s film of the same name, earned Richie an Academy Award nomination for best original song.

The list is based on the rankings on the Billboard Hot 100 singles chart from its start in 1958 until today. As might be expected, every song has the word “love” in the title.

Boyz II Men’s 1994 hit “I’ll Make Love to You,” 2011 pop dance track “We Found Love” by Rihanna and Calvin Harris, 1977′s “How Deep Is Your Love,” from the Bee Gees and 1976′s “Silly Love Songs” by Wings round out the top five.

The oldest song dates from 1958, “To Know Him Is to Love Him” by The Teddy Bears. Rihanna‘s “We Found Love” is the most recent entry on the list.

Whitney Houston‘s 1992 version of “I Will Always Love You,” Mario’s 2004 “Let Me Love You,” 1990′s “Because I Love You (The Postman Song)” by Stevie B., 1977′s “Best of My Love” from The Emotions and the Ray Charles 1962 classic “I Can’t Stop Loving You,” complete the top 10.

This is the fourth year that Billboard has issued a list for Valentine’s Day, although in 2011 its “Love Stinks” compilation took the opposite approach with the 30 biggest heartbreak hits.

Two real-life couples appear this year, Captain & Tennille with 1975′s “Love Will Keep Us Together” and Jay-Z and Beyonce with 2003′s “Crazy in Love.”

Diana Ross, Whitney Houston and Mariah Carey have three entries each on the list, along with Paul McCartney with The Beatles and his own band Wings, for “Silly Love Songs,” 1973′s “My Love” and “She Loves You” from 1963.

The complete list can be seen at http://billboard.com/lovesongs

(Reporting By Noreen O’Donnell; Editing by Jill Serjeant and Xavier Briand)

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Broadway Motown musical features civil rights, love story

NEW YORK (Reuters) – Motown founder Berry Gordy Jr. watched with approval on Thursday as the cast of upcoming Broadway show “Motown: The Musical” tore through the storied record label’s hits at a 42nd Street rehearsal studio.

The show traces Gordy’s rise from a struggling boxer and autoworker to a music mogul who made stars of Smokey Robinson, Diana Ross, The Temptations, Stevie Wonder, Marvin Gaye, The Jackson 5 and others.

“So many other people were telling the story in different ways who were never there and never understood it, just for the sake of exploitation,” Gordy, 83, a producer of the show, told Reuters.

The media preview featured hits ranging from The Contours’ “Do You Love Me” – sung as a segregated audience in Birmingham, Alabama, breaks through a rope to hear the group – to “Dancing in the Street” by Martha and the Vandellas.

Director Charles Randolph-Wright, who grew up in South Carolina in the 1960s, said Motown was in his DNA.

“Motown opened the emotional door to the civil rights movement,” he told Reuters. “Motown is the thing that brought people together. We started dancing to the same music and listening to the same music.”

Gordy’s relationship with Ross – the couple had a daughter together – is shown beginning in Paris, to the hit “My Girl” by The Temptations.

“That’s the love story in our show,” Randolph-Wright said.

The musical begins previews on March 11 and officially opens on April 14. It features a book by Gordy and music and lyrics from the Motown catalog.

Although the show is from Gordy’s perspective, it doesn’t duck some of the criticism that surrounded him, especially in Motown‘s early days, Randolph-Wright said.

As Gordy explained: “At one time, people were feeling that how could a black kid from Detroit do a Motown without being a crook, without being in the Mafia, without being something bad, because it was such a big endeavor.”

Gordy, the creator of what was once the largest black-owned business in the United States, was an inspiration to him, Randolph-Wright said.

“Berry Gordy was someone who had his own company, who literally changed the world with what he did,” he said. “And to see that, it gave me and so many people like me – black, white, whatever color – that gift of possibility.”

Brandon Victor Dixon, who plays Gordy, said it was “hard to have a greater honor than having Berry Gordy respect you as an artist.”

Valisia LeKae, who appeared in “The Book of Mormon,” plays Ross. “It is the soundtrack of people’s lives,” LeKae said of the music. “I definitely expect people to sing along.”

(Reporting By Noreen O’Donnell, editing by Jill Serjeant and Xavier Briand)

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Beyonce electrifies at Super Bowl halftime show

If naysayers still doubted Beyonce‘s singing talents — even after her national anthem performance this week at a press conference — the singer proved she is an exceptional performer at the Super Bowl halftime show.

Beyonce opened and closed her set belting songs, and in between she danced hard and heavy — and better than most contemporary pop stars.

She set a serious tone as she emerged onstage in all black, singing lines from her R&B hit “Love on Top.” The stage was dark as fire and lights burst from the sides. Then she went into her hit “Crazy In Love,” bringing some feminine spirit to the Superdome as she and her background dancers did the singer’s signature booty-shaking dance. Beyonce ripped off part of her shirt and skirt. She even blew a kiss. She was ready to rock, and she did so like a pro.

Her confidence — and voice — grew as she worked the stage with and without her Destiny’s Child band mates during her 13-minute set, which comes days after she admitted she sang to a pre-recorded track at President Barack Obama‘s inauguration less than two weeks ago.

Beyonce proved not only that she can sing, but that she can also entertain on a stage as big as the Super Bowl’s. The 31-year-old was far better than Madonna, who sang to a backing track last year, and miles ahead of the Black Eyed Peas’ disastrous set in 2011.

Beyonce was best when she finished her set with “Halo.” She asked the crowd to put their hands toward her as she sang the slow groove on bended knee — and that’s when she the performance hit its high note.

“Thank you for this moment,” she told the crowd. “God bless y’all.”

Her background singers helped out as Beyonce danced around the stage throughout most of her performance. There was a backing track to help fill in when Beyonce wasn’t singing — and there were long stretches when she let it play as she performed elaborate dance moves.

She had a swarm of background dancers and band members spread throughout the stage, along with videotaped images of herself dancing that may have unintentionally played on the live-or-taped question. And the crowd got bigger when she was joined by her Destiny’s Child band mates.

Kelly Rowland and Michelle Williams popped up from below the stage to sing “Bootylicious.” They were in similar outfits, singing and dancing closely as they harmonized. But Rowland and Williams were barely heard when the group sang “Independent Woman,” as their voices faded into the background.

They also joined in for some of “Single Ladies (Put a Ring On It),” where Beyonce‘s voice grew stronger. That song featured Beyonce‘s skilled choreography, as did “End of Time” and “Baby Boy,” which also showcased Beyonce‘s all-female band, balancing out the testosterone levels on the football field.

Before the game, Alicia Keys performed a lounge-y, piano-tinged version of the national anthem that her publicist assured was live. The Grammy-winning singer played the piano as she sang “The Star Spangled Banner” in a long red dress with her eyes shut.

She followed Jennifer Hudson, who sang “America the Beautiful” with the 26-member Sandy Hook Elementary School chorus. It was an emotional performance that had some players on the sideline on the verge of tears. Hudson also sang live, her publicist said.

The students wore green ribbons on their shirts in honor of the 20 first-graders and six adults who were killed in a Dec. 14 shooting rampage at the school in Newton, Conn.

The students began the song softly before Hudson, whose mother, brother and 7-year-old nephew were shot to death five years ago, jumped in with her gospel-flavored vocals. She stood still in black and white as the students moved to the left and right, singing background.

___

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Beyonce says sang along to pre-recorded track at inauguration

NEW ORLEANS (Reuters) – Singer Beyonce said she sang along to a pre-recorded track at the inauguration of President Barack Obama, but delivered a stirring a cappella version of the U.S. national anthem at a Super Bowl news conference on Thursday.

She also said would be singing live at the half-time show of the National Football League championship game between the San Francisco 49ers and Baltimore Ravens at the Superdome on Sunday.

Beyonce‘s performance of the “Star-Spangled Banner” at the January 21 inauguration ceremony sparked a debate over whether she had lip-synched her performance in Washington.

“I am a perfectionist and one thing about me is that I practice until my feet bleed and I did not have time to rehearse with orchestra,” the Grammy-winning artist said on Thursday.

“It was a live television show and a very, very important emotional show for me and one of my proudest moments, and due to the weather, to the delay, due to no proper sound check, I did not feel comfortable taking the risk.

“It was about the president and the inauguration and I wanted to make him and my country proud, so I decided to sing along with my pre-recorded track, which is very common in the music industry, and I am very proud of my performance,” she said.

Beyonce, 31, one of pop music’s biggest celebrities, surprised the media on Thursday by asking them to rise at the start of her news conference and launching into a solo version of the U.S. national anthem.

After the applause in the room died down, she asked the hundreds of media representatives, “Any questions?”

Asked if she planned to sing live during the Super Bowl game, annually one of the most-watched TV events in the United States, the singer said: “I will absolutely be singing live. This is what I was born to do, it is what I was born for.”

The NFL also said that Jennifer Hudson would perform “America the Beautiful” with the chorus from Sandy Hook Elementary School in Newtown, Connecticut, where 20 children and six adults were killed in a mass shooting in December.

Alicia Keys will sing the national anthem before the game’s kickoff, while other artists, including OneRepublic and Matchbox Twenty, will be part of the televised pregame show.

(Editing by Jill Serjeant and Peter Cooney)

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Actress Kerry Washington wins big at NAACP Image Awards

LOS ANGELES (Reuters) – Actress Kerry Washington was the big winner at the NAACP Image Awards on Friday, picking up awards for her roles in the slavery-era Western film “Django Unchained” and television drama “Scandal,” as well as a special honor for professional achievement and public service.

But on a night that celebrated the successes of artists of color, actor and activist Harry Belafonte struck a somber note when he admonished the black community for failing to speak out in favor of gun control, saying “the group most devastated by America’s obsession with the gun is African-Americans.”

Washington received the best supporting actress in a movie award for her role as a slave in Quentin Tarantino‘s “Django Unchained” and best actress in a television drama for “Scandal,” in which she plays a crisis-management expert.

“This award does not belong to me. It belongs to our ancestors,” Washington said in accepting her award for “Django Unchained,” which has received a mixed reaction from the black community for its portrayal of slavery and its violence.

Both Washington and “Django” co-star Jamie Foxx, who received the entertainer of the year award, thanked Tarantino for making the film.

“‘Django’ was an absolute blessing of a movie,” Foxx said. “Thank you Quentin Tarantino for having the courage to do it.”

“Django” failed to pick up the image award for best movie, losing to “Red Tails,” a film about African-American wartime pilots.

The NAACP also honored Washington with a special award for both her political activism, including her work on President Barack Obama’s re-election campaign, and for being the first black woman in 40 years to star in a prime-time drama on network television.

“I stand here tonight on the shoulders of those who have blazed a path of art and activism,” Washington said, mentioning Belafonte specifically.

Belafonte took the stage later to accept his own special award for his decades of political activism. He used his speech to implore the black community to support gun control, an issue that has received heightened attention since a December shooting at a Connecticut school killed 20 children and six adults.

“In the gun game, we are the most hunted. The river of blood that washes the streets of our nation flows mostly from the bodies of our black children,” Belafonte said. “Where is the raised voice of black America? Why are we mute?”

The night’s other winners included Denzel Washington, who won the best actor in a movie award for his role as an alcoholic pilot in “Flight,” and LL Cool J, who picked up best actor in a TV drama for “NCIS: Los Angeles.”

The NAACP Image Awards celebrate the accomplishments of people of color in the fields of film, television, music and literature, and also honor individuals or groups who promote social justice.

The National Association for the Advancement of Colored People, founded in 1909, is the oldest and largest civil rights organization in the United States.

(Reporting By Nichola Groom; Editing by Eric Beech)

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Amazon Orders 5 Children’s Shows to Pilot

LOS ANGELES (TheWrap.com) – Amazon is continuing to beef up its original programming, ordering five potential children’s series to pilot, including shows from the creators of “Blue Clues” and “Rugrats,” the company announced on Thursday.

“Creative Galaxy,” “Oz Adventures,” “Teeny Tiny Dogs,” “Tumbleaf” and an untitled J.J. Johnson project will join six other comedy pilots on Amazon Instant Video. Viewers can watch for free and give their feedback – after which Amazon will decide what shows get series orders.

No launch date has yet been scheduled for the pilots.

“Creative Galaxy,” from “Blue Clues” creator Angela Santomero, is an animated interactive art adventure series that hopes inspire kids’ creative thinking through crafts, story, music and dance.

The “Wizard of Oz”-inspired “Oz Adventures” will follow Dorothy’s daughter, Dot, on daily learning excursions down the yellow-brick road with other offspring from Dorothy’s old pals.

“Teeny Tiny Dogs” hails from “Rugrats” creator Howard Baker, is produced by the Jim Henson Company. As the title suggests, the show follows teeny tiny dogs as they overcome their size to navigate the big, large world.

“Tumbleaf,” created by Drew Hodges and Big Pix Studios, hopes to entertain preschoolers with a small, blue fox named Fig who has a knack for finding learning adventures down every path it wanders.

J.J. Johnson‘s project introduces kids to science and technology through Anne, a young scientist and her three robot helpers assisting her experiments carried out in her dad’s junkyard.

“We think parents – and our very youngest customers – are going to love the magical combination of entertainment and learning that they’ll discover in these children’s series,” Roy Price, Director of Amazon Studios, said in a statement.

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“Sin City 2″ casts Eva Green and Julia Garner

LOS ANGELES (TheWrap.com) – “Sin City: A Dame to Kill For” has cast Eva Green as a femme fatale and Julia Garner to portray yet another stripper struggling to make a dime in the gritty comic-book metropolis.

Green (“Casino Royale”) will appear in the sequel to the 2005 hit, “Sin City,” as a deadly muse named Ava Lord. Garner (“The Perks of Being a Wallflower”) plays a stripper who appears in scenes with Johnny, a cocky young gambler played by Joseph Gordon-Levitt.

Like the first film, “A Dame to Kill For” is adapted from Frank Miller‘s graphic novels.

Miller, who is co-directing with Robert Rodriguez, says Green’s character is “every man’s most glorious dreams come true, she’s also every man’s darkest nightmares.”

“Ava Lord is one of the most deadly and fascinating residents of ‘Sin City.’ From the start, we knew that the actor would need to be able to embody the multifaceted characteristics of this femme fatale and we found that in Eva Green,” Miller and Rodriguez added in a statement. “We are ecstatic that Eva is joining us.”

Green and Garner are newcomers to the sequel, along with Gordon-Levitt, Jaime King, Josh Brolin, Dennis Haysbert, Michael Madsen, Christopher Meloni, Jeremy Piven, Ray Liotta, Juno Temple and Jamie Chung.

Returning from the first “Sin City” are Mickey Rourke, Jessica Alba, Bruce Willis and Rosario Dawson.

The sequel is currently filming at Rodriguez’s Troublemaker Studios in Austin, Texas and is scheduled for an October 4 theatrical release.

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Actor Jason London arrested after Ariz. bar fight

PHOENIX (AP) — Authorities say actor Jason London has been arrested on suspicion of assault and disorderly conduct after an Arizona bar fight.

Scottsdale police say London allegedly sneezed on a man who then asked him to apologize, but London refused and instead hit the man in the face.

The Arizona Republic (http://bit.ly/VoULau ) says the two men were escorted out of the bar, but London began pushing and cursing at firefighters trying to treat him and appeared extremely drunk. He was arrested early Monday.

London’s Twitter account says “some guy thought I was hitting on his girl” and that several large bouncers beat him, breaking bones in his face. London added, “the truth will win” and “I hate Arizona.”

London is best known for the 1993 movie “Dazed and Confused.”

___

Information from: The Arizona Republic, http://www.azcentral.com

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Rupert Sanders’ wife files for divorce in LA

LOS ANGELES (AP) — Rupert Sanders‘ wife has filed for divorce five months after it was revealed the director had a brief affair with actress Kristen Stewart.

Liberty Ross, Sanders’ wife of more than nine years, filed for divorce Friday in Los Angeles citing irreconcilable differences.

Ross’ filing cites irreconcilable differences for the couple’s breakup. They have two children, an 8-year-old daughter and 6-year-old son.

The model-actress is seeking joint custody of the children and spousal support from her estranged husband, who directed Stewart in “Snow White and the Huntsman.”

TMZ, which first reported the filing, stated that Sanders also filed divorce paperwork but it was not available on Monday.

Stewart, who has been dating “Twilight” co-star Robert Pattinson, apologized for her fling with Sanders in July after it was revealed by US Weekly.

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Dick Van Dyke honored for lifetime achievement

LOS ANGELES (AP) — He’s acted, danced and sang his way through movies, television and the stage, making Dick Van Dyke an entertainment triple-threat long before Hollywood used such hyphenates.

The 87-year-old actor, best known for the 1960s hit comedy “The Dick Van Dyke Show” and Disney’s big-screen musical “Mary Poppins,” can now add lifetime achievement honoree. He picked up that honor at Sunday night’s 19th annual Screen Actors Guild Awards.

“I’ve knocked around in this business for 70 years and I still haven’t quite figured out exactly what it is I do,” Van Dyke said after accepting his trophy from presenter Alec Baldwin.

“The years have been full of surprises for me and a lot of fun. Aren’t we lucky to have found a line of work that doesn’t require growing up?”

Van Dyke‘s career has spanned eight decades, starting with work as a disc jockey and a standup comic in the late ’40s. He even worked as a national television morning-show host, with no less than Walter Cronkite serving as his news anchor.

But perhaps Van Dyke‘s most critical career break came in 1960, when director Gower Champion hired him as the male lead opposite Chita Rivera in the new Broadway-bound stage musical “Bye Bye Birdie.”

Van Dyke had no professional dance experience, and out-of-town tryouts did not go well. Nevertheless, Champion refused to fire the actor, who would go on to New York with Rivera and win a Tony award for his performance.

About a year later, Van Dyke was starring in his own sitcom, in the role of TV comedy writer Rob Petrie on “The Dick Van Dyke Show.” Three prime-time Emmys for Van Dyke and more than 50 years later, the series remains revered by many critics as one of the earliest models of great workplace comedy.

“‘The ‘Dick Van Dyke Show’ was the most fun I ever had and the most creative period of my life,” he said on the red carpet.

During the series’ run, Van Dyke also enjoyed big-screen hits, including the 1963 “Birdie” movie and the 1964 all-star comedy, “What a Way to Go!” But biggest of all was “Mary Poppins,” in which he introduced the Oscar-winning song “Chim Chim Cher-ee.”

“I’m world-famous for my Cockney accent,” Van Dyke kidded in his acceptance speech. He has said his British-born co-star, Julie Andrews, told him he never got the accent right.

Van Dyke also saluted the room full of actors who gave him a standing ovation.

“I’m looking at the greatest generation of actors in the history of acting. You’ve all lifted the art to another place now,” he said. “Besides that you’re everywhere. You’re in Darfur, Somalia, Haiti. You’re all over the place trying to do what’s right.

“This very heavy object here means that I can refer to you as my peers. I’m a happy man, God bless.”

Last year, Van Dyke presented the same lifetime achievement honor to his former TV co-star, Mary Tyler Moore.

These days, Van Dyke sings with his vocal group, The Vantasix, and enjoys life with his wife of one year, makeup artist Arlene Silver. The couple met seven years ago at the SAG Awards.

“They tell me you never work again once you get this award,” Van Dyke said on the red carpet. “I’ll have to let them know I’m available.”

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Director Abrams to helm new Star Wars, fans say force with him

(Reuters) – Sci-fi filmmaker J.J. Abrams will direct “Star Wars: Episode VII,” Walt Disney Co said after days of speculation, giving hope to many long-suffering fans who were disappointed by the last three installments in the iconic franchise.

The announcement was greeted with celebrations on online networks by the films’ army of enthusiasts who have already watched Abrams rescue the aging “Star Trek” series with a high-grossing prequel in 2009.

Disney said late on Friday Abrams would work under the leadership of producer Kathleen Kennedy, the former president of Lucasfilm, and the script would be penned by Oscar-winning writer Michael Arndt.

“J.J. is the perfect director to helm this. Beyond having such great instincts as a filmmaker, he has an intuitive understanding of this franchise,” Kennedy said in a statement on starwars.com.

Fans were equally enthusiastic. “JJ Abrams to the rescue!!! Yes!! #starwarsVII,” wrote Jonny Radtke ‏(@JonnyRadtke) on Twitter.

“Great news about JJ Abrams directing Star Wars. Might just rescue the brand…,” added Alastair Brookshaw ‏(@albrookshaw).

Rumors that Abrams, one of Hollywood’s most successful directors and producers, would take stewardship of the films filled industry publications and online forums over the past week.

The 46-year-old made his name with TV shows “Alias” and “Lost” and earned his stripes as a director of effects-laden blockbusters with “Super 8,” “Mission: Impossible III” and another widely expected Star Trek film “Star Trek Into Darkness,” due out later this year.

The Star Wars franchise, which was created by George Lucas‘ Lucasfilms Ltd, has grossed more than $ 4.4 billion at the global box office since the first film was released in 1977, making it the third most successful movie property after the “Harry Potter” and “James Bond” series.

Star Wars characters such as Princess Leia, Luke Skywalker and the anti-hero, Darth Vader, have become a staple part of pop culture, along with the catch phrase “May the force be with you”.

The Star Wars films were acquired by Disney after they bought Lucasfilm for $ 4.05 billion in October 2012. They announced then that three new installments would be made, starting in 2015.

Lucas, 68, gave Abrams his blessing on Starwars.com, saying the director was “an ideal choice to direct the new Star Wars film and the legacy couldn’t be in better hands”.

Abrams said his new role was “an absolute honor.”

Disney had previously said Lucas would remain a creative consultant on the series.

Lucas himself said in October he had story treatments for Episodes 7, 8 and 9, which he would hand over to Kennedy, who assured him that she would adhere to his ideas.

(This version of the story was corrected to clarify that Abrams directed “Mission: Impossible III” and not “Mission Impossible – Ghost Protocol” as earlier stated in paragraph eight.)

(Editing by Andrew Heavens)

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First Steve Jobs movie gets red carpet premiere

PARK CITY, Utah (Reuters) – The first movie about Apple‘s legendary co-founder got a warm reception at its world premiere on Friday, just 15 months after Steve Jobs‘ death.

“jOBS,” starring “Two and a Half Men” actor Ashton Kutcher as the tech and computer entrepreneur who revolutionized the way people listen to music and built Apple Inc into an international powerhouse, got a red carpet roll-out at the Sundance Film Festival ahead of hitting U.S. theaters on April 19.

“jOBS” chronicles 30 defining years of the late Apple chairman, from an experimental youth to the man in charge of one of the world’s most recognized brands. It is the first of two U.S. feature films about Jobs, who died in 2011 at age 56.

“Everybody has their own opinion about Steve Jobs, and they have something invested in a different part of his story. So the challenge is to decide what part of his story to tell, and not disenfranchise anybody,” director Josh Stern told Reuters ahead of the screening.

“Hazarding a guess and venturing into too much speculation is always dangerous, especially with a character who is so well-known,” Stern added.

The film, co-starring Josh Gad and Dermot Mulroney, begins with Jobs the dreamer, the poet and the occasional drug user in college, and his initial ideas for Apple Computers, before his vision took on a life of its own.

Much of the drama is based around the early 1980s, and Jobs‘ ideologies for the Apple Lisa and Macintosh computers, which ended up performing poorly for the company and led to Jobs being fired.

Kutcher’s Jobs is seen as the rock star of the tech world, admired but misunderstood in his early days as he constantly tried to think outside of the box and bring a notion of “cool” to his brand.

The audience on Friday warmly applauded the film following the screening.

In a question-and-answer session after the screening, Kutcher took to the stage to talk about his preparations of mastering Jobs‘ posture, hand gestures and eccentricities, saying his “painstaking research” included watching more than 100 hours of footage of the Apple innovator.

Notably missing from the film are details about Jobs’ personal life – his court settlement with the mother of his first child features only in the backdrop of the 1980s, a time when he struggled to gain support from the Apple board for his visions.

Stern told the audience that he deliberately stayed away from the CEO’s personal life, saying the film was “not about getting mired in some of the soap opera” of Jobs’ life.

Kutcher, 34, told Reuters on the red carpet before the screening that he was honored to play Jobs but also terrified because of the former Apple chairman’s iconic status.

“To be playing a guy who so freshly is in people’s minds, where everywhere you go you can run into people who met him or knew him or had seen a video of him … that’s terrifying because everyone is an appropriate critic,” Kutcher told Reuters.

WRONG PERSONALITIES

Hours before the screening, Apple co-founder Steve Wozniak said the movie appeared to misrepresent aspects of both his own and Jobs’ personalities and their early vision for the company.

Wozniak was commenting after seeing a brief clip of an early scene that was released online on Thursday.

“Totally wrong. … The ideas of computers affecting society did not come from Jobs,” Wozniak, who co-founded Apple with Jobs and Ronald Wayne in a California garage in 1976, told technology blog Gizmodo.com.

“The lofty talk came much further down the line,” Wozniak said in a series of emails.

“Book of Mormon” star Gad, who plays Wozniak, told Reuters on Friday’s red carpet that the filmmakers had tried to reach out to him to get his input on “jOBS,” but that Wozniak was “participating in another project about Steve Jobs.”

Wozniak is tied to a movie based on Walter Isaacson’s official biography “Steve Jobs,” being developed by screen writer Aaron Sorkin of “The West Wing” and “The Social Network” fame. No release date or casting has been announced.

Kutcher said he hoped Wozniak would look more kindly on the movie when he had seen the whole two hours.

“I hope that when he sees the film, he feels that he was portrayed accurately, that the film accurately represents who he was and how he was, and more importantly, inspires people to go and build things,” he said.

(Additional reporting By Jill Serjeant in Los Angeles; editing by Philip Barbara)

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From “Skyfall” to “The Avengers,” how the foreign box office is trouncing domestic

LOS ANGELES (TheWrap.com) – Foreign audiences are buying what Hollywood is selling, pushing the industry to a record-breaking year at the worldwide box office.

Last year, blockbusters like “The Avengers,” “The Dark Knight Rises” and “Skyfall” deftly navigated cultural barriers everywhere from Toluca, Mexico, to Hyderabad, India, demonstrating how the film business’ future hinges on a global cultural and commercial exchange.

Internationally, ticket sales grew by 3 percent to $ 23.1 billion compared to $ 22.4 billion the previous year, with foreign territories accounting for 68 percent of the top 10 grossing films. Thanks to a 5.8 percent rise at the domestic box office from roughly $ 10.2 billion to $ 10.8 billion, according to Rentrak, it was the biggest tally in box-office history.

“We are the beneficiaries of growing markets,” Chris Aronson, head of 20th Century Fox’s domestic distribution, said. “You’re seeing big numbers coming out of places like China that keep increasing every year – and other places like India and Russia that are evolving. They’re not yet mature movie going markets, but they’re going to be fantastic.”

All of this expansion has come while much of the world, particularly Europe, has been mired by recession. Yet studio executives say that a massive expansion of IMAX and 3D-capable theaters in certain regions has cushioned the blow in softer markets like Italy and Spain.

“We’ve seen some downturn in parts of the world, but the tremendous growth we’ve experienced in other places like Russia, Latin America and now China has compensated for it,” Veronika Kwan Vandenberg, president of distribution at Warner Bros. Pictures International, said.

Of course, some of those areas present thorny regional challenges, perhaps none more so than China.

With its massive population of moviegoers, China remains a marketplace with almost boundless potential. However, its rigid bureaucracy is frequently protectionist and suspicious of foreign investment, making it an elusive profit center.

Things are improving, though. Thanks to a much touted trade agreement that was signed last year, more non-Chinese films can be distributed in the country. As a result, analysts now think that China is poised to become the second largest market for U.S. films, surpassing Japan.

By 2020, some speculate it could even eclipse the United States.

That doesn’t mean China has always welcomed the increased competition with its own domestic-made films. After authorities became concerned that the influx of U.S. blockbusters was hurting their own local productions, they scheduled “The Amazing Spider-Man” and “The Dark Knight Rises” to open against each other last summer. Industry executives say that significantly cut into their box office takes.

More recently, “Skyfall” became the latest film to run afoul of China‘s stringent censors and was forced to re-edit scenes.

It also saw its release in the country pushed back from November to January to give Chinese films a wider berth.

“It’s a very interesting, very exciting country right now, but the whole aspect of having a country that on the one hand is becoming more and more capitalist, but on the other hand still has lot of government control, just makes it extremely difficult to navigate,” said Charles Roven, producer of “The Dark Knight Rises.”

Those hurdles won’t cool Hollywood’s expansionist kick. Particularly endearing foreign markets to Hollywood is the fact that audiences overseas are more tolerant of films that bomb domestically.

“Total Recall,” for instance, cost $ 125 million to produce but only managed to earn a meager $ 58 million stateside. It mopped up some of that red ink by grossing $ 139.6 million, perhaps benefiting from audiences who were unfamiliar with the 1990 Arnold Schwarzenegger original.

However, box-office analysts caution that the days of foreign markets feasting on hamburger and mistaking it for steak may one day come to an end.

“International audiences are more forgiving, but the bar is set higher now in terms of the need to do just more than just putting special effects on screen,” said Bruce Nash, founder of the box office statistics site The Numbers. “A studio can no longer guarantee success simply by spending $ 150 million on a movie.”

Credit for the sizzling box office does not rest simply with bigger budgets, analysts and studio executives say. They contend it goes to a slate of films like “The Amazing Spider-Man” or “Skyfall” that have an aspirational quality that makes them easily accessible in some far-flung parts of the globe.

“Whether you’re growing up in Moscow, Seoul or Kansas City, you could imagine yourself being Spider-Man, and I think many guys fantasize about being James Bond,” said Rory Bruer, worldwide president of distribution at Sony Pictures. “These stories may be set in New York or England, but they don’t belong to us, they belong to the world.”

Not that all superhero films are created equal. Take “Iron Man” and “Iron Man 2″ – some box-office watchers think that the character’s narcissism and arrogance rankled Asian audiences, resulting in the films being the rare blockbusters that actually performed better domestically than abroad.

However, partner Iron Man with Captain America and Thor in “The Avengers” and the message of team-work resonates much more strongly with the same audiences that may have rejected the character in his solo ventures. The result was that $ 888.4 million of the film’s box office take came from foreign territories.

“The narrative arc transcends borders,” said Kristen Simmons, senior vice president of the worldwide motion picture group at the research firm Ipsos MediaCT.

“You have these flawed characters coming together for the common good and that is culturally appealing across the world.”

Studios are also taking pains to tailor stories so they aren’t as geographically specific – setting them in the future or in a city or countryside that could double for urban or rural environments anywhere in the world. And they’re peppering their cast with international stars, so their films will be more reflective of the ethnic makeup of their audiences.

Among the recent instances of global casting were Indian star Irfan Khan’s key roles as a scientist in “The Amazing Spider-Man” and the narrator of “Life of Pi,” as well as Wang Xueqi, the so-called Sean Connery of China‘s addition to the cast of the upcoming “Iron Man 3.”

That can do a lot to increase playability abroad and to bring in fans who remain stubbornly immune to the charms of Robert Downey Jr. or Will Smith.

Sometimes the bet works, as in the case of “Life of Pi,” which rode its international setting and cast to $ 356.3 million at the foreign box office. That far surpasses the $ 95.6 million in domestic receipts and is the major reason the costly film will make a profit despite its $ 125 million budget and esoteric storyline about the search for faith.

Other times the globe-trotting gamble doesn’t pay off. “Cloud Atlas” spanned time, space and multiple continents, but bombed both domestically and abroad. Despite its sprawling, international troop of actors, the film eked out a mere $ 71 million worldwide, which won’t cover its reported $ 100 million production costs.

Producers say that casting decisions can’t just be a case of tokenism, they have to be dramatically sound. Nor do the films have to be pandering.

“If you stay true to the concept and elements that originally attracted you to the material, you can still make it appealing on a worldwide basis,” Roven said.

“I don’t believe making a movie accessible means you have to dumb them down,” he added.

Movies News Headlines – Yahoo! News

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