Michael Haneke’s Amour and Paul Thomas Anderson’s The Master each received seven nominations for the London Film Critics’ Circle Awards this morning. Amour was nominated in the best film, director, screenwriter, actor, actress and supporting actress categories along with a nod as best foreign language film. The Master also was mentioned in the best film, director, screenwriter, actor and supporting actress races as well as supporting actor. Skyfall is the most heavily nominated British film with five nods inlcuding two for Judi Dench as best supporting actress and British actress of the year; the latter shared with her role in The Best Exotic Marigold Hotel. Life Of Pi, Argo, Lincoln, Les Misérables and UK indie Sightseers are all nominated four times each. The London Film Critics’ Circle will hold its 33rd awards ceremony on January 20. Below is a full list of the nominees:
LA Film Critics Vote Michael Haneke’s ‘Amour’ Best Pic, Paul Thomas Anderson Best Director For ‘The Master’
Michael Haneke’s Amour was named best picture today in voting by the Los Angeles Film Critics Association. The tender study of an elderly couple in their twilight years also was named best picture at Cannes and at the recent European Film Awards. Paul Thomas Anderson was voted best director for The Master, which presents a portrait of a charismatic cult-like figure. The Master also took best actor for Joaquin Phoenix supporting actor for Amy Adams. The LA vote halted earlier momentum for Zero Dark Thirty, which won best picture and directing nods for Kathryn Bigelow from the New York Circle of Film Critics, National Board of Review and the Boston Society of Film Critics. Bigelow was the LA group’s runner-up. The LA critics vote resulted in a best actress tie between Emmanuelle Riva for Amour and Jennifer Lawrence for David O. Russell’s Silver Linings Playbook. These and other results are posted below.
BEST PICTURE: Amour
Runner-up: The Master
BEST DIRECTOR: Paul Thomas Anderson, The Master
Runner-up: Kathryn Bigelow, Zero Dark Thirty
BEST ACTRESS (TIE): Jennifer Lawrence, Silver Linings Playbook; Emmanuelle Riva, Amour
BEST ACTOR: Joaquin Phoenix, The Master
Runner-up: Denis Lavant, Holy Motors
BEST SUPPORTING ACTRESS: Amy Adams, The Master
Runner-up: Anne Hathaway, The Dark Knight Rises & Les Miserables
BEST SUPPORTING ACTOR: Dwight Henry, Beasts of the Southern Wild
Runner-up: Christoph Waltz, Django Unchained
BEST SCREENPLAY: Chris Terrio, Argo
Runner-up: David O. Russell, Silver Linings Playbook
BEST EDITING: Dylan Tichenor and William Goldenberg, Zero Dark Thirty
Runner-up: William Goldenberg, Argo
BEST ANIMATION: Frankenweenie
Runner-up: It’s Such A …
IFP Gotham Award Noms: ‘Bernie,’ ‘Loneliest Planet,’ ‘The Master,’ ‘Middle Of Nowhere’ And ‘Moonrise Kingdom’ Up For Best Picture
New York, NY (October 18, 2012) – The Independent Filmmaker Project (IFP), the nation’s oldest and largest organization of independent filmmakers announced today the nominees for the Gotham Independent Film Awards™. Signaling the kick-off to the film awards season, IFP’s Gotham Independent Film Awards™ nominations were given to a total of 26 films across six competitive categories for Best Feature, Best Documentary, Breakthrough Director, Breakthrough Actor, Best Ensemble Performance, and Best Film Not Playing at a Theater Near You.
The Gotham Awards ceremony will be held on Monday, November 26th at Cipriani Wall Street. In addition to the competitive awards, actors Marion Cotillard and Matt Damon, director David O. Russell, and Participant Media founder Jeff Skoll will each be presented with a career tribute.
As the first major awards ceremony of the film season, the Gotham Independent Film Awards™ provide critical early recognition and media attention to worthy independent films. Previous winners for Best Feature and Best Documentary include BEGINNERS (2011), THE TREE OF LIFE (2011), BETTER THIS WORLD (2011), WINTER’S BONE (2010), THE OATH (2010), THE HURT LOCKER (2009), and FOOD, INC. (2009). The awards are also unique for their ability to assist in catapulting award recipients prominently into national awards season attention, including recent winners and ultimate Oscar® contenders: feature winners BEGINNERS (2011), TREE OF LIFE (2011), WINTER’S BONE (2010) and THE HURT LOCKER (2009); Breakthrough Actors Melissa Leo (2008), Ellen Page (2007), Rinko Kikuchi (2006) and Amy Adams (2005).
The nominations for the 2012 Gotham Independent Film Awards are:
Bernie, Richard Linklater, director; Richard Linklater, Ginger Sledge, Celine Rattray, Martin Shafer, Liz Glotzer, Matt Williams, David McFadzean, Judd Payne, Dete Meserve, producers (Millennium Entertainment)
The Loneliest Planet, Julia Loktev, director; Jay Van Hoy, Lars Knudsen, Helge Albers, Marie Therese Guirgis, producers (Sundance Selects)
The Master, Paul Thomas Anderson, director; Joanne Sellar, Daniel Lupi, Paul Thomas Anderson, Megan Ellison, producers (The Weinstein Company)
Middle of Nowhere, Ava DuVernay, director; Howard Barish, Ava DuVernay, Paul Garnes, producers (AFFRM and Participant Media)
Moonrise Kingdom, Wes Anderson, director; Wes Anderson, Scott Rudin, Steven Rales, Jeremy Dawson, producers (Focus Features)
The director tells CBS This Morning that yes, his The Master is loosely based on L Ron Hubbard and Dianetics and “investigating what that movement was”. Paul Thomas Anderson also fielded a question about Harvey Weinstein, who will push the buttons on The Master‘s Oscar campaign as awards season warms up: “He’s a bull in a china shop — but he’s your bull, and it’s great to have him”.
Specialty Box Office: ‘Perks Of Being A Wallflower’, ‘Diana Vreeland’ Shine, ‘The Master’ Shows Momentum
Brian Brooks is managing editor of MovieLine.
The overall box office still has a case of the doldrums but a couple of new specialty movies this weekend had robust openings. Summit scored with its rollout of The Perks Of Being A Wallflower, averaging a stellar $61K. That’s the fourth best per-theater average of the year. Perks brought out young females in droves, with women making up 70% of audiences and 60% were under 25. Summit also boasted that Perks was also the company’s highest per-screen debut for any Summit title. Samuel Goldwyn Films’ doc Diana Vreeland: The Eye Has To Travel also showed gusto in its debut, averaging a stylish $21,413. IFC Films bravely took on How To Survive A Plague, a doc exploring the AIDS crisis from the standpoint of activist group ACT-UP. It averaged a softish $7K. Sundance Selects will open Survive in VOD on September 28th.
Among holdovers, last week’s record-breaking debut The Master held solid in its second weekend after a sizable expansion. The Weinstein Company added 783 theaters, grossing $5 million and a solid $6,345 average. Roadside Attractions took Arbitrage into 244 locations from 197 last weekend. The film averaged a solid $5,221. Noted a Roadside Attractions spokesperson: “The film held up very well and in particular went up 78% Friday to Saturday. ” IFC Films added 16 theaters for Liberal Arts in its second weekend. It grossed $40K in 20 theaters for a very soft $2K average.
Toronto, Venice, Telluride Fest Wrap-Up: ‘Silver Linings’, ‘Argo’, ‘The Master’ Are Clearly Early Best Picture Contenders
With today’s wrap of the 2012 Toronto International Film Festival, the Fall festival trifecta of Venice, Telluride and Toronto officially kicked off the six-month movie awards season. What does it say, if anything, about where the race for Oscar is at this early point? As it turns out, quite a bit. It is very early in the game. And we also have to remember there is one more key early Fall festival on the horizon when the New York Film Festival kicks off September 28th with Ang Lee’s much anticipated Life Of Pi and closes October 14th with Robert Zemeckis’ Flight starring Denzel Washington. These two Oscar-winning directors have much buzzed-about new films so obviously the race is still taking shape. But Toronto, for instance, has featured six of the last seven Oscar-winning Best Pictures in its lineup, an impressive feat.
Coming out of Venice with media spotlight blazing was Paul Thomas Anderson’s The Master, a multi-award winner there (although in a bit of controversy not the top Golden Lion). The Weinstein Company film also played well in Toronto and has now opened this weekend to a record-breaking limited release gross, something that won’t harm its Oscar chances down the line. But only if it can sustain critical and box office momentum.
Brian Brooks is Managing Editor of MovieLine.
It’s not every weekend that a specialty film can claim a record, but The Master opened with an incredible $145,949 per-theater average, the best limited release ever for a live-action film, topping another record-breaker from earlier this year, Wes Anderson’s Moonrise Kingdom, which bowed with with an average of $130,749 at four locations. The Master director Paul Thomas Anderson’s previous film, There Will Be Blood averaged $95,370 when it opened back in 2007 in two theaters.
“We’re thrilled with the numbers. It set the screen record and all the credit in the world goes to Paul Thomas Anderson with his guerrilla marketing strategy combined with moving the [release date] to this weekend,” said said TWC Head of Distribution Erik Lomis. “I’m expecting my phone to ring off the hook from exhibitors tomorrow.” The Weinstein Company had initially set an October rollout of The Master which picked up best director and actor awards at the recent Venice Film Festival where it was reportedly also the be jury’s pick for the top prize, the Golden Lion, until fest officials enforced a rule that limits the number of big awards per film.
SUNDAY AM, 5TH UPDATE: It was a revived box office at the start of the domestic weekend with respectable grosses for both opening but non-original pics. That’s a relief for Hollywood after weeks of lackluster threatrical sales and the lowest-grossing weekend in at least four years. But total moviegoing this weekend is only $86M, or -15% from last year when The Lion King in 3D made $30.1M. Then again, it had not been available on home entertainment since 1994 and was a ‘Disney Vault’ item much in demand in 3D. In contrast, Disney/Pixar’s 3D version of its 2003 blockbuster Finding Nemo (2,904 theaters) took in only $17.5M for the weekend despite the lack of fresh family fare in the cineplex. It also made $5.1M from 7 territories representing 22% of the international market. Which brings its global cume from all releases to $890.2M.
Sony/Screen Gems/Constantin Films’ 3D Resident Evil: Retribution (3,012 theaters) is the 5th installment in the sexy sci-fi/horror franchise and was an easy #1 against the clownfish. It opened with $8.8M Friday helped by $665K from midnight screenings. It topped out at $21.1M for the domestic weekend, which is less than the franchise’s 4th installment. No matter because it makes its real moolah overseas. Indeed, Resident Evil: Retribution grossed a big $50M overseas for a total $71.1M worldwide in just its first few days of release. That beats the last one overseas by about 28%. “This could be the biggest one yet,” a Sony exec gushed to me. Exit polls showed that 64% of the audience was male and 45% under age 25. About 48% experienced the film in 3D, 34% saw it in 2D, 14% viewed it in IMAX, and another 4% viewed it in other PLF theaters.
Frankly, the blogosphere has not always been kind to this series or the writing/directing/producing team of Paul W.S. Anderson and Jeremy Bolt (Impact Pictures). But I can’t argue with RE‘s amazing success. To give you an idea, the previous 4 films have an aggregate worldwide gross of $675M. The last film made $296M. If this 5th film could get to $325M worldwide, then the franchise hits $1B in worldwide box office. And I haven’t even mentioned the big DVD numbers. All on an aggregate budget of a mere $250M. How many filmmakers have created that return on investment? Also, Anderson has now shot his last 3 films in 3D, using the Vince Pace rigs, and is one of the few Hollywood directors comfortable with it. As a major player I respect emailed me this weekend, “Paul should get his due. He’s one of the most under-appreciated directors out there.”
And fresh from the Venice and Toronto International Film Festival circuit, The Weinstein Company’s much ballyhooed anti-Scientology movie The Master began its platform run and Oscar campaign by breaking art house records. Director Paul Thomas Anderson and talents Joaquin Phoenix and Philip Seymour Hoffman got off to a great start in limited release in 5 art houses (3 in NY and 2 in LA) grossing $729,745. Weinstein picked up the film from Annapurna for worldwide distribution. The indie studio was hoping to beat the art house record of $130K per screen set by Focus Features’ Moonrise Kingdom this year – and did just that with $145K.
Also of note, the same distribution company Rocky Mountain Pictures that released the hit political documentary 2016: Obama’s America on Friday opened Last Ounce of Courage. Both pics were in the Top 10 on Friday but fell out by Sunday. The newest pic aimed at “freedom-loving faith-based” audiences should have received a slow rollout. Instead, it debuted in 1,407 theaters with a marketing push including TV buys. Once again, this kind of movie produces strong pre-sales then grosses dwindle. It opened with a $1.7 weekend. Not sure if this pic has legs.
Finally, I’d be remiss not to mention Roadside Attractions’ and Lionsgate’s Arbitrage for the biggest U.S. opening ever for a film debuting in both movie theaters and On Demand — and by a wide margin. Because it made $2M this weekend on only 197 screens for a per screen average of $10.5K. The Richard Gere starrer written and directed by Nicholas Jarecki had Roadside boss Howard Cohen kvelling to me. Amd the film also is #2 on iTunes overall and #1 in both Drama and Thriller categories.
A fantastic weekend for the indies… Don’t miss Deadline’s specialty box office report later today.
Here’s the Top Ten movies based on weekend estimates:
1. Resident Evil 5 (Screen Gems/Sony) NEW [3,012 Runs]
Friday $8.4M, Saturday $7.6M, Weekend $21.1M
2. Finding Nemo (Pixar/Disney) NEW [2,904 Runs]
Friday $5.0M, Saturday $7.0M, Weekend $17.5M
‘The Master’, ‘Arbitrage’, ‘Francine’, ‘Liberal Arts’, ‘Step Up To The Plate’: Specialty Box Office Preview
Brian Brooks is managing editor of MovieLine.
After making a splash in both Toronto and Venice (where it picked up awards, but not without controversy), The Weinstein Company’s The Master takes to screens amidst festival Oscar buzz this weekend. Joining the anticipated title are Sundance Film Festival heavyweights Arbitrage starring Richard Gere and Josh Radnor’s Liberal Arts, in which he stars opposite Elizabeth Olsen. Also rolling out in select theaters are Francine, starring Melissa Leo and French-centered documentary, Step Up To The Plate.
Paul Thomas Anderson’s latest movie heads to theaters following awards controversy at the Venice Film Festival and a lauded North American debut at the Toronto International Film Festival last weekend where it generated a good dose of Oscar buzz. Writer-director Anderson dismissed – at least verbally – any association with Scientology at a press conference in Toronto and expressed gratitude for the film’s Venice wins for Best Actor (shared by Philip Seymour Hoffman and Joaquin Phoenix) and his Silver Lion for Best Director. The story follows a naval vet who arrives home to an uncertain future but finds solace from a charismatic leader. “Over the years, Paul has become a freer director [and] more organic,” producer JoAnne Sellar said in Toronto. “For …
The closing of the 69th Venice Film Festival this evening was awash in scandal, and the preamble to the prizes appears to have had its share of confusion as well. Paul Thomas Anderson’s The Master took the most kudos with the Silver Lion for directing and a shared best actor Volpi Cup for Philip Seymour Hoffman and Joaquin Phoenix. However, a person close to the process confirms to Deadline that the jury originally wanted to give the top prize Golden Lion to The Master, but the panel was hampered by rules that don’t allow for one film to be too heavily weighted. So, tonight, the Golden Lion was given to South Korea’s Kim Ki-duk for redemption story Pieta. That film was very well-received during the festival and indeed was the one that most considered a challenger to The Master. But it’s a scandal this does not reflect the Venice jury’s true intent.
Meanwhile, at the Lido’s Sala Grande tonight, the jury mixed up the Silver Lion for best director and the special jury prize between The Master and Ulrich Seidl’s absurdist religious tale Paradise: Faith. Ultimately, it was Anderson who won the Silver Lion and Paradise: Faith which snagged the jury prize. Hoffman had just jetted in from Toronto, and had already said his thanks for the jury prize on behalf of Anderson, before bouncing back up to the stage to collect the Lion when the mistake was noted. He had also accepted the acting awards on his and Phoenix’s behalf.
Hadas Yaron took the Volpi Cup for best actress in Rama Burshtein’s Israeli arranged marriage drama Fill The Void. Olivier Assayas won for best screenplay for his 1970s-set French film Après Mai. Daniele Cipri was recognized for technical achievement for Italy’s E Stato Il Figlio and Fabrizio Falco was named best emerging talent for the same film.
Toronto’s film festival isn’t content to do just one, or even two, major gala premieres a night like, say, Cannes. No, it has about 10 of them and Friday night was really buzzing with at least four major ‘must-see’ events all coinciding. Paul Thomas Anderson’s The Master premiered in North American to a sold-out crowd at the massive Princess Of Wales theatre and sparked lots of immediate Oscar talk just like in Venice. (The Master And Joaquin Phoenix Draw Raves.) The acting from Joaquin Phoenix and Philip Seymour Hoffman, particularly in a killer scene near the end, doesn’t get much better than this. And controversy about whether it really is – or isn’t – about the beginnings of Scientology will only spark more interest. But with the Oscar season just getting going in earnest, a lot of contenders are finally emerging.
Just as it did in its sneak previews in Telluride, Ben Affleck’s Argo killed in Toronto at its official World Premiere Friday at the Roy Thomson Hall. And why not? After all, some of the plot revolves around the Canadians helping to shelter 6 Americans from the radical Iranians who held nearly 60 others hostage for well over a year in 1979. And the Warner Bros brass turned out in force seeing the film receive a highly enthusiastic standing ovation. That included Jeff Robinov, Sue Kroll, Dan Fellman who know they have a likely hit on their hands.
At the after-party, director/star Affleck told me this was one of the best screenings he has ever had for a movie. “They got every reference and recognized all the Canadian names we put in there,” he said. After the highs of the Fall festival circuit, Affleck is just hoping filmgoers turn out when it opens October 12th. “I am doing something I haven’t done for a movie in years and hitting many different cities to promote the film,” he told me.
Deadline’s International Editor, Nancy Tartaglione, checks in on this podcast with her colleague, David Bloom about two of the biggest films to appear at the 69th Venice Film Festival: Paul Thomas Anderson’s The Master, and Terrence Malick’s To The Wonder. Hear Nancy’s analysis on what the response has been and why.
Paul Thomas Anderson called The Master a “love story” between its two lead characters and addressed the issue of Scientology and its relationship to the film at a press conference in Venice this afternoon. The movie screened this morning and certainly calls to mind the controversial religion, but Anderson said it wasn’t the “whale in the room” that people thought. He said he based Philip Seymour Hoffman‘s character, Lancaster Dodd, in part on Scientology founder L Ron Hubbard, but added, “I really don’t know a whole hell of a lot about Scientology.” He also confirmed that he had shown the film to Hollywood’s most famous Scientologist, Tom Cruise, whom Anderson directed to an Oscar nomination in Magnolia. “Yes, I showed it to him. We’re still friends and the rest is between us,” he deadpanned.
The Master‘s stars, Hoffman and Joaquin Phoenix, were also present at the standing room only press conference – Hoffman more so than Phoenix who chain-smoked on the dais, didn’t answer any questions and disappeared for a few minutes in the middle. Harvey …
A Venice Film Festival audience lined up starting at about 8 AM today to catch the first press screening of Paul Thomas Anderson’s The Master. The packed house was hushed throughout the entirety of the film with only a handful of walkouts. Although immediate reaction following the screening was enormously positive, applause when the credits rolled was muted. After sitting through 2 hours of a gorgeous yet emotionally grueling and difficult-to-decipher picture, folks say they’re still parsing the movie. As one industryite and self-professed fan of Anderson’s work said to me this morning, “I would have preferred if it moved from Point A to Point B, not because I’m illiterate about film or need signposts along the way, but it seems to keep circling around.” An across-the-board consensus, however, is that Joaquin Phoenix should earn a Best Actor Oscar nomination. His portrayal of a disturbed World War II veteran Navy man is disturbing itself for the masterful way he embodies such an enigmatic character.
The Weinstein Company releases The Master on September 14th in the U.S., and sneak screenings around the country have resulted in largely glowing reviews. Curiously, a scene that was part of one of the original trailers for The Master — in which Phoenix’s Freddie Quell screams at Philip Seymour Hoffman’s Lancaster Dodd, aka The Master: “I know you’re trying to calm me down, but just say something that’s true!” — was not in the version screened in Venice this morning. Nor was a scene in which Quell is being questioned about “an incident.”
Anderson is known for operatic tales, whether set against the backdrop of the porn industry, the San Fernando Valley during a frog storm, or the Southern California oil boom. But this one will be a tougher sell to audiences not used to the director’s work. The movie has been regarded as a thinly-veiled treatise on Scientology, and someone who’s not heard all of the Scientology talk before seeing the film would immediately recognize references to it.
EXCLUSIVE: Paul Thomas Anderson’s The Master will join the competition roster at the Venice Film Festival, and it might well be part of the Toronto International Film Festival program as well. There has been speculation in recent weeks that The Master could have a Venice berth, but it was not among the films announced by festival organizers last week. I’m told that the film has now been locked, and that Harvey Weinstein will get a prime Saturday slot to launch it into the Oscar-season fray. It certainly ramps up the buzz factor at the festival, partly because critics finally get to decide for themselves how much the title character played by Philip Seymour Hoffman was influenced by L. Ron Hubbard and his formation of Scientology.
The Weinstein Company has confirmed moving Paul Thomas Anderson’s The Master to a limited opening on September 14 from its original date October 12. The movie will add theaters on September 21. Philip Seymour Hoffman stars as the charismatic central figure of the movie. Amy Adams and Joaquin Phoenix also star. Additionally Weinstein is moving the Brad Pitt drama Killing Them Softly to October 19 from September 21. The Master now will be opening against the wide releases of Disney/Pixar’s remastered-in-3D Finding Nemo and Sony/Screen Gems’ Resident Evil: Retribution. Other movies opening in limited release September 14 will be Summit’s The Perks Of Being A Wildflower, IFC’s Liberal Arts and UTV’s Barfi! Director Andrew Dominik and Pitt’s Killing Them Softly will be up against a pair of other wide releases October 19, Alex Cross from Summit and Paramount’s Paranormal Activity 4 plus IFC’s The Loneliest Planet and Paramount Vantage’s Not Fade Away.
Related: Hot Trailer: ‘The Master’
Here is the new theatrical trailer for Paul Thomas Anderson’s The Master. Philip Seymour Hoffman plays the charismatic central figure of the movie, which some have suggested is a thinly veiled take on Scientology but Anderson has said it is definitely not. Amy Adams and Joaquin Phoenix co-star in The Weinstein Company release now set to open September 14th:
Here’s another trailer for Paul Thomas Anderson’s The Master, from The Weinstein Company. The first one focused on Joaquin Phoenix’s character’s restless and destructive nature, and now that character connects with Philip Seymour Hoffman’s The Master, who starts his own belief system. These are unorthodox vignettes, and it will be interesting to watch as more of the story unfolds in these trailers.
Harvey Weinstein just finished previewing three of his big fall/winter hopefuls for press gathered at the Majestic Hotel here at the Cannes Film Festival. As noted first on Deadline yesterday, The Weinstein Company decided to call the press corps together tonight to whet the appetite for previews of three films: Paul Thomas Anderson’s The Master, David O’Russell’s Silver Linings Playbook and Quentin Tarantino’s Western throwback Django Unchained.
Related: Hot Trailer: ‘The Master’
Weinstein started the slick, professionally produced and no-frills presentation by threatening to show his Bar Mitzvah film shot when he was 13 years old but never before seen in its “uncut” version. Fortunately he didn’t. Instead, he quickly introduced the three films and their business relationships to Weinstein. On Django, Weinstein shares all global rights with Sony, and he praised the partnership with Amy Pascal and Michael Lynton. On Silver the Weinstein Co holds all global rights; on The Master they will distributing globally as well. Before rolling the footage, Weinstein said, “These are some of the best films we have ever been associated with, if not the best”. When I asked him about that afterward, he explained that the company has returned to an association with auteur directors and the visions they have for the screen; he has always credited Tarantino with being one of the architects of the success of Weinstein’s former company, Miramax. He said the philosophy of a filmmaker-driven company has paid off not only with the three fall/Christmas releases showcased tonight but also with their other product that includes Andrew Dominik’s Brad Pitt starrer Killing Them Softly (premiering here tomorrow night) as well as his Cannes premiere Saturday night, Lawless, from director John Hillcoat. There is another upcoming film, Quartet, directed by that “young newcomer Dustin Hoffman”, whom Weinstein said he decided to “take a chance on”.
The three films highlighted tonight will be released in succession this fall: The Master (starring Joaquin Phoenix in a return to films, Philip Seymour Hoffman and Amy Adams), involving a complex plot dealing with a Scientology-related religion (and obviously destined for controversy) opening in October. Silver Linings Playbook opens in November and is an adapted screenplay by Russell from the novel by Matthew Quick about a former resident of a mental institution (Bradley Cooper) who tries to mend relationships with his family and ex-wife. Jennifer Lawrence, Julia Stiles, Robert De Niro, Jacki Weaver and Chris Tucker co-star in supporting roles. It looks like Cooper’s most challenging screen role to date. And for Christmas Day, Weinstein is promising Tarantino’s provocative Western starring Jamie Foxx as an ex-slave out for revenge and Oscar-winner Christoph Waltz as a diabolical travelling dentist who has a giant tooth atop his covered wagon. Leonardo DiCaprio, Don Johnson, Kerry Washington and Samuel L. Jackson co-star.