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CBS Reups Les Moonves Through 2015 SAG prez Alan Rosenberg today sent out this email:
June 8, 2008
Dear Members,
Screen Actors Guild's negotiating committee continued its bargaining with the AMPTP this past week. We continue to negotiate for a new contract that will be fair for actors and we are not done yet as there are still a number of significant outstanding issues including:
* More than cost-of-living improvements for working actor compensation, with real improvements in money breaks and schedule breaks and a significant increase in the major role minimum.
* Make real improvements in background coverage and compensation.
* Guild coverage and residuals for all original new media programs. Our employers should not have the right to produce non-union new media programming under our contract. We continue to fight hard to preserve residuals for actors now and in the future.
* Product integration -- you should have the right of consent and to be compensated for scripted in-program product integrations in which an actor extols the virtues of a product or service.
* Improving DVD Residuals - we are holding on our proposal that management pay P&H contributions on top of the residuals instead of deducting it from your residuals payment. This would mean a 15% increase in DVD residual payments.
* An increase in mileage for the 1rst time in 30 years. A gallon of gas cost about 63 cents in 1978. It's almost $5 per gallon now - a cost jump of around 700%. I think we can all agree that
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This made the Jack Black-voiced toon Dreamworks Animation's all-time non-sequel opening, overpowering 2004 Shark Tale's $47.6M, and 2005 Madagascar's $47.2M (the latter over Memorial Weekend). The two studios were surprised how much the PG panda pic played like a non-family film. "More like a live action film than a traditional animated film where you normally get a Friday number, then a huge bump on Saturday," a Paramount insider told me. "But our Friday was bigger than we expected because we got more of a general audience. I attribute it to people loving pandas and Jack Black being a big star." Interestingly, exit polls showed that 55% of the audience was female, and 51% over age 25, and 71% age 17 and older.
EXCLUSIVE: I'm told Nicole Chabot is moving to BNC (Bragman, Nyman, Cafarelli) after six years at BWR (Baker Winokur Ryder). She'll be a director in media relations. The reason this is interesting is because it puts BNC into the hot young comic business bigtime, adding to the flackery's already heavyweight list. "This is potentially a significant shift in the personal PR business especially in the comedy marketplace," my insider tells me. Chabot at Beverly Hills-based BWR (a cog in the big wheel of Ogilvie PR Worldwide) helped handle Rainn Wilson, Chris Rock, Jason Segel, Rob Corddry, Danny McBride, Jason Biggs, Andy Richter, Nick Swardson, Robert Hoffman, Clarke Duke, Craig Robinson, Sean Avery, Jay Hernandez, Jody Hill, Michael Rosenbaum, Dan Fogler, Terry Crews, Diora Baird, JR Bourne and others.
I'm hearing that Rainn Wilson, Rob Corddry, Clarke Duke, Craig Robinson, Jay Hernandez, Diora Baird and Michael Rosenbaum are probably moving with her to the Interpublic-owned ghetto of flackeries inside West Hollywood's Green Whale. No word yet on the others, but more are expected to follow. BWR sent this statement to me this afternoon: "BWR wants to clarify that Nicole Chabot was assigned day-to-day to many clients as she was recently promoted from her junior publicist position last year. She did not sign, nor is she taking, Chris Rock, Jason Segel, Danny McBride, Jason Biggs, Jody Hill or Dan Fogler." 
This morning, the PR firm 42West, which flacks both Tom Hanks and AFTRA, issued this statement to the press: "Further to the false report spread by SAG that Tom Hanks and George Clooney personally called Alan Rosenberg to offer their support, here is a statement from Tom Hanks: "Someone name [sic] Susan Savage has used my name in a letter, suggesting I have taken the position of not ratifying the new AFTRA agreement. This is a hoax, not true, a complete fabrication.” Earlier, Clooney issued this denial as well: "I have had no conversations with SAG concerning that issue. Any reporting to the contrary is false."
I understand that NBC Universal boss Jeff Zucker is interpreting this as "a vote of confidence" in the network schedule and "real proof" that his decision is paying off to save money by forgoing a formal pilot season and full-frills upfront presentation and instead replacing it with a so-called "In Front stategy" whereby scripts and pitches were ... 
It's been the most challenging year on record for the Hollywood Foreign Press Association -- well, if you don't count 1982's uproar over naming Pia Zadora best "New Star Of The Year" -- that saw the cancellation of its Golden Globe Awards dinner because of the Writers Guild strike. So Jorge Camara should take some small comfort in knowing that he was re-elected today HFPA president for the year 2008-2009 at the organization's annual election meeting. A member of the association for 43 years, Camara is serving his sixth term and covers entertainment (print and television) for Mexico and Latin America. Mike Goodridge was re-elected vice president. Serge Rakhlin and Meher Tatna were re-elected executive secretary and treasurer, respectively. The new Board of Directors is comprised of Mahfouz Doss (re-elected chairman), Erkki Kanto, Lilly Lui, Paz Mata, Frances Schoenberger, and Armando Gallo (alternate). The annual HFPA Installation Luncheon to honor the officers and directors will be held later this summer, when the association makes its annual donations to non-profit organizations and film schools. Now, if only the HFPA would focus on cleaning up its membership policies to allow real Hollywood foreign press into its pathetically faux organization. 
distribution, and physical production and combining those three into big Paramount. But I'm also assured that Paramount Vantage will still be an ongoing brand that will still be developing and acquiring specialty product with dedicated creative staff. Only now the films will be released by big Paramount. As part of this, the co-president of marketing at Vantage, Megan Colligan, will be joining Paramount Pictures as 
co-president of domestic marketing alongside Josh Greenstein, upped from EVP of marketing at Paramount Pictures. Both will be reporting to Gerry Rich, who's president of worldwide marketing. Insiders tell me that Colligan's colleague, Guy Endore Kaiser, will likely be departing. Paramount later tonight will be officially announcing these management changes. Presumably, the poor peons will suffer consolidation as this reorganization proceeds. Vantage boss Nick Meyer still reports to John Lesher, who now gets to keep an even closer eye on his old stomping ground after his big 
kept in the so-called "video" vault on the lot. So, in the short term, Universal has canceled bookings of anything archival coming directly from Universal City and can't honor any film bookings of prints that were set to ship from there. Let me be clear: I am assured by insiders that the negatives are not affected, thankfully -- only the actual 35mm prints used for repertory circulation of classic films. Prints from that very rich vault which also includes pre-1950 Paramount include such classics as Frankenstein, Son of Frankenstein, Duck Soup, Hell's Angels, Brides of Dracula, Incredible Shrinking Man, Buck Privates, Hold That Ghost, and so many, many more. Some Industry types are emailing me that, with these prints gone, and the expense of making new prints, they fear that art houses and cultural organizations and film societies and festivals may never see these films theatrically again. But I'm told that Universal has already committed itself to making new prints. Of course, there will be delay and disappointment in the immediate future. But that's only a timing issue. I'm told it's possible that some of these prints may have duplicates in storage at other locations. So, over the next few weeks and months, Universal will be piecing together what extra prints, if any, it does ... 
(Well, at least until the chick flick dropped 34% from Friday to Saturday, thus easing their initial panic. But the pic did a better than expected Sunday to end up with a final $56.8 million for the weekend.) At least Warner Bros quickly decided to embrace a Sex sequel. But that same studio is sitting on a potential successor, maybe even a reproducible event, about to come out September 12th. Yet WB is giving The Women the cold shoulder. Especially after this weekend, you'd think that Warner Bros would be jumping all over Picturehouse's long awaited Diane English low-budgeted $16.5 million remake of the famed Clare Booth Luce play and 1939 George Cukor film. Forget about the merits of the movie: I'm talking about the potential for box office moolah stirred up by some savvy Sex-exploiting. Instead, I've just been told that Warner Bros is still going to let Picturehouse market and distribute the movie in very limited release even though Picturehouse is in the process of shutting down. Here is Warner Bros able to control the PG-13 comedy -- just like it did Sex And The City from HBO Films and New Line, the studios that created Picturehouse -- but isn't interested.
The French fashion giant had a long love affair with film, including his biggest fan Catherine Deneuve whom he called his "muse". YSL dressed her for the films Belle De Jour (1967), La Chamade (1968), La Sirène du Mississipi (1969), Un Flic (1972), Liza (1972), and The Hunger (1983). He also was the costume designer for films featuring Jean Seberg, Claudia Cardinale, Capucine and Leslie Caron. He had two documentaries done on him and his business by David Teboul: Yves Saint Laurent: His Life and Times and Yves Saint Laurent 5 avenue Marceau 75116 Paris. 
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