Beverly Hills, CA — Nominee credits for Best Documentary Feature nominee "The Cove" have been determined by the Academy of Motion Picture Arts and Sciences' Documentary Branch Executive Committee. Credits are as follows:

"The Cove" – Louie Psihoyos and Fisher Stevens

Academy rules for the documentary feature category state that a maximum of two persons may be designated as nominees, one of whom must be the credited director, and the other of whom must have a producer or director credit. Psihoyos is the film's director, Stevens has a producer credit.

UPDATE: Yes, the rumors are true: Andrew Rogers has joined ICM as an agent in the motion picture talent department. This follows his departure as head of Paradigm’s motion picture talent group. ICM expects most of his clients to follow, including Michael Cera, Laz Alonso, Eugene Levy, Sydney Tamiia Poitier, Melissa George, Russell Hornsby, Regina Hall, Gavin Weisen, Zack Pearlman. But Paradigm tells me that Rogers' clients Shailene Woodley, Melissa George, Blair Underwood, Asher Book, Lucas Neff and Nicole Behaire have confirmed that they are staying.

Aleen Leslie - screenwriter, novelist, playwright, and vintage radio writer-producer – died of natural causes in her home in Beverly Hills last week, just three days short of her 102nd birthday. A member since 1938, Leslie was the oldest living Writers Guild member. She also was one of perhaps only a dozen women screenwriters in the entertainment industry at the time. After arriving in Hollywood, she quickly talked her way into Universal Studio to begin writing 2-reelers for The Three Stooges and ultimately worked at every studio. She had 19 credited movies to her name, including Father Was a Fullback, The Doctor Takes a Wife, Father is a Bachelor, Rosie the Riveter, The Stork Pays Off, and several of the Henry Aldrich series.

TV lit agents Jill Gillett has left Paradigm. But talent agent Carlos Carreras has left UTA and joined the agency in the talent department, effective immediately. He's said to have very strong ties to the burgeoning Latin talent market.

DDA public relations has upped Dana Archer to SVP and head of its Los Angeles office. She'll also join the 6-person DDA executive board. Archer in her new role promoted Christelle Dupont to senior publicist, Clifford Ng to international publicist, and Manuela Ruggeri in the newly created role of new business coordinator. The flackery is under the new ownership of CEO Lawrence Atkinson and COO John Stannard. Archer left Weber Shandwick and joined DDA PR last March as VP of Corporate Entertainment. Current DDA corporate clients include Imagenation Abu Dhabi, Reliance BIG Entertainment, Dubai International Film Festival, Mpower Pictures, Lleju Productions, Samuel Hadida’s Davis Films. and BrightWide, among others.

Hollywood studios finished 2009 with their wallets shut tight for spec scripts and new development. But maybe they'll open for Steven Soderbergh's latest: Contagion, an action-thriller that takes place in a worst case scenario of a deadly virus. He’s got Kate Winslet, Matt Damon, Marion Cotillard, and Jude Law ready to star in it this fall, with Participant Media aboard as co-financier. Greg Jacobs will produce with Double Feature Films' Michael Shamberg and Stacey Sher.

Of course, this is familiar movie territory, from The Andromeda Strain to Outbreak, which beat out Ridley Scott's The Hot Zone on the same topic. But both were hot properties, and given the subject matter, and Soderbergh's involvement, and that cast, Contagion ought to spark a bidding battle. Several studio execs have read it, and the project will be be shopped shortly by the producers and Soderbergh’s Anonymous Content rep Michael Sugar. The script is supposed to be Traffic meets Bourne and was written by Scott Z. Burns, best known for co-writing The Bourne Ultimatum, and who most recently collaborated with Soderbergh on The Informant!, as did Participant, Damon and Jacobs.

After Che, the maverick writer-director has moved in a more commercial direction. And after Moneyball fell apart for him, he's proactively going the indie route.  He began production last week on Knockout, the Relativity Media-financed espionage thriller he built around mixed martial arts fighter Gina Carano, surrounding the newcomer with Channing Tatum, Ewan McGregor, Michael Douglas, and Michael Fassbender.

GET HIM TO THE GREEK, starring Jonah Hill and Russell Brand, will be released on June 4, 2010. CHARLIE ST. CLOUD, starring Zac Efron, will be released on October 15th.

No doubt the newtwork is anxious to get its disastrous primetime season over and done with. Anyway, here are NBC's season finale dates:

“Trauma” (Monday, May 10
“Mercy” (Wednesday, May 12
“Law & Order: Special Victims Unit” May 19
“Community” May 20
“Parks and Recreation” May 20
“The Office” May 20
“30 Rock” May 20
“The Celebrity Apprentice” May 23
“Chuck” (two hours) May 24
“Law & Order” May 24
“The Biggest Loser” (two hours) May 25

UPDATES Few Films Advertising For Super Bowl XLIV

According to a recent MovieTickets.com poll of over 550 people who said they watched the entire game, Alice in Wonderland was the most memorable movie trailer to air during Super Bowl XLIV. About 51% remembered seeing the trailer, while 30% said the trailer was the most effective in encouraging them to see the film when it releases March 5th in theaters — more than any other trailer aired Sunday. Robin Hood was 2nd in terms of effectiveness with 26%.

Which movie ads do you remember seeing during the Super Bowl?
1. Alice in Wonderland (81%)
2. Robin Hood (67%)
3. Shutter Island (63%)
4. The Wolfman (63%)
5. Prince of Persia: The Sands of Time (56%)
6. The Last Airbender (28%)
7. The Back-up Plan (23%)

11:45 AM UPDATE: CBS just announced its Super Bowl XLIV coverage was the most-watched program in TV history. An average of 106.5 million viewers watched New Orleans beat the Indianapolis Colts. The game even topped the 1983 M*A*S*H* finale seen my 106 million. The network's fast national household rating/share was 45.0/68, the highest in 14 years. Last night's Super Bowl rating/share peaked at a 48.5/70 from 9:00PM-9:30PM ET with an average of 114.1 million viewers. Which just goes to show that, even though everyone says there's no such thing as double-digit ratings in entertainment TV anymore, some event programming transcend normal viewing habits and bring eyeballs nationwide back to the networks.

Because of the game, the CBS premiere of its heavily hyped new reality show Undercover Boss benefited greatly, averaging a 19.0/32 with an average of 38.61 million viewers -- 16.6 million in adults 25-54, 16.2 million in adults 18-49, and 15.1 million in adults 18-34. CBS said it was the largest audience ever for a new series following the Super Bowl since the advent of people meters in 1987. Also, the largest audience ever to watch the premiere episode of a reality series. And the most watched new series premiere overall on television since "The Dolly Show" on September 27, 1987 (seen by 39.47 million). The 3rd largest post-Super Bowl audience behind the "Friends Special" on January 28, 1996 and CBS's Survivor: The Australian Outback on January 28, 2001. And the largest audience for an entertainment program this season as well as ... Read More »

Who's kidding whom? We know that almost all the marquee categories are virtually decided. Which leaves only Best Picture and Best Director (and maybe Best Actress) nominations with any suspense at all. There's tension galore, for once. The studios, and their majors and minors and distributors and marketers, all had an extra two weeks to campaign until the Oscar broadcast March 7th. But is anyone spending like the good old days (i.e. the Weinsteins' heyday)? I've called around and seasoned Oscar observers say no, resoundingly.

Gone are the days when ego and bragging rights prompted studios and studio-backed indies to cough up tens of millions of dollars just to sway Academy members. It's estimated that spending campaigns this year will range from a pittance of $500,000 to a middling $5 million. "And most of us are going to play in the low end," one top studio exec told me. Contrast that to the routine $15-plus million spent in the late 1990s-early 2000s.

This year, there's a sober reality among contenders like Alcon Entertainment, whose nominee The Blind Side was nearing a $240 million domestic gross when the noms arrived. Andrew Kosove, Alcon partner and one of the film's three producers, expects to spend 6-figures for a race he doesn't feel he will win.

“I believe we deserved to be nominated, but in my personal opinion, this is between Avatar and The Hurt Locker,” Kosove told me. “Just being nominated, and having Sandra Bullock emerge as a possible winner for ... Read More »

NEW YORK CITY – Alan Zweibel will receive the Writers Guild of America East’s (WGAE) Ian McLellan Hunter Award for Lifetime Achievement in Writing. The award is given “in honor of a lifetime body of work as a writer in motion pictures or television.” Zweibel will receive his award at the 62nd annual Writers Guild Awards ceremony held on February 20 at New York City’s Hudson Theatre. One of Saturday Night Live’s original writers, Alan Zweibel has won multiple Emmy, Writers Guild, and TV Critics awards for his work in television, which also includes It’s Garry Shandling’s Show (co-creator and executive producer), Monk, and Curb Your Enthusiasm. In film, he co-wrote the screenplays for Dragnet, North, and The Story of Us.

• More WGAW Writing Award Winners
• WGAW Honors Barry Levinson & Larry David
• WGAE Honors Edward Albee

UPDATES Worst Network Pilot Season For Women?

My recent post asking whether this was the worst network pilot season for women writers and showrunners provoked a lot of controversy. I asked Neely Swanson to expand for Deadline/Hollywood on her recent essay about it. She is the former SVP of Development for David E. Kelley Productions, and presently is an adjunct professor at the USC School of Cinematic Arts in the writing division. She teaches “The Entertainment Industry Seminar.”  Neely also writes a blog about big and small sceen writers at www.nomeanerplace.com. 

I received several emails this past week pointing out the scarcity of women writers on the recent pilot pickups.  At a cursory glance it is easy to jump on the bandwagon decrying the lack of diversity among the “creator” ranks, not to mention showrunners and writing staffs, but this was a subject worth pursuing in a bit more depth. Nikki Finke sent a missile to the broadside of various network heads about what was being called “the worst year in a decade for female writers and showrunners.”   

Based on announced pilot pickups and using Studio System and the Trades, I made a list of all the new pilots that had been ordered to production as of February 1 for the four major broadcast networks, as well as the credited writers, the production studio and the intended network. Of the 66 pilots I documented, 13 pilots had at least

... Read More »