Private Practice and Judging Amy alumna Amy Brenneman has joined the cast of Damon Lindelof’s HBO drama pilot The Leftovers, directed by Peter Berg. Also cast as a regular in the project, based on Tom Perrotta’s book, is Emily Meade (Gimme Shelter). The Leftovers takes place after the Rapture happens but not quite like it’s supposed to and centers on chief of police Kevin Garvey (Justin Theroux). Brenneman, repped by CAA and Mosaic, will play Laurie, a woman who has left her entire life behind to join a mysterious cult. Meade, repped by Innovative and Authentic talent, plays Amy, an uninhibited high school student who seemingly takes the apocalypse in stride. Cast as a guest star/recurring in the pilot is Jake Robinson (The Carrie Diaries), who plays the guy we all wish we were in High School.
Amy Brenneman and Jess Weixler have joined Annette Bening, Ed Harris and Robin Williams in the Arie Posin-directed romantic drama Look Of Love. Posin wrote the script with Matthew McDuffie. Mockingbird Pictures’ Julie Lynn and Bonnie Curtis are producers. The film begins shooting April 9 in Los Angeles.
Curtis and Lynn found most of the funding in Dallas. That is where they sourced funds for the Glenn Close-starrer Albert Nobbs, which got three Oscar nominations. In Look Of Love, a widow (Bening) meets a man (Harris) who is a dead ringer for her deceased husband. A flood of old feelings return as she realizes she’s met the love of her life, again. Weixler will play Bening’s daughter in the picture. CAA and WME are co-repping North American distribution and Exclusive Media will sell foreign at Cannes.
EXCLUSIVE (UPDATED BELOW): There’s been no announcement yet. But Ann Blanchard is already being accused of breaking Hollywood protocol by not first informing those agents repping her Mosaic Media Group’s TV management clients of her change of employment. Instead, she’s calling those clients today and trying to take them with her to CAA. As a result, agencies who gave her clients to manage are calling me spitting mad. For instance, UTA reps Mosaic’s TV biz and yet Blanchard today was phoning UTA clients to come with her to CAA. Before moving to Jimmy Miller’s Mosaic where she’s been producing several projects, Blanchard had been a TV lit agent and SVP at the old William Morris Agency and is now calling her former clients from there, too. Blanchard, who wasn’t supposed to start at CAA for another 3 weeks, already has 10 high level clients at the tenpercentery including Amy Brenneman, Ed Redlich, Alexa Junge, Doug Petrie, and TV director Michael Dinner. I’ve been hearing that CAA wants to widen its writers / creators / showrunners list after what is well known to be several ”off” years packaging pilots and down this year as well. Remember that movies are the glitz of the agency biz but TV is the cash cow.
UPDATE: Ann Blanchard just told me: “I feel terrible about this reaction and of course want to make clear that I truly value my relationships with all the agencies. I’m in the process of calling all the high-level agents I’ve worked with over the course of this weekend. …
EXCLUSIVE: SAG Natl Board To Consider “Affected Member Voting” This Weekend; Petition Drive Softens Original Proposal
I’m told that the actors behind that SAG petition drive for ”affected member” voting have made what they’re calling a “significant change” in their proposal to soften its impact. As you know, DHD has been active in this debate by letting actors post their positions pro and con this idea of an earnings threshold for “qualified voting” on the union’s contract issues. Stephen Collins, Amy Brenneman and Ned Vaughn have written in favor while Ron Livingston and Frances Fisher have written in opposition. I’ve been told that the leading actors behind the petition drive have met with SAG president Alan Rosenberg about it. The new change in the proposal was outlined to supporters today in advance of the SAG National Board considering the petition this weekend. I’ve obtained the email:
“Our affected member voting proposal goes before the SAG National Board this weekend, April 12 & 13. In just four days, SAG will determine if actors’ contracts will be decided by those who work under them, or continue to be decided by those who don’t. This directly affects your livelihood, so please read on.
We’ve revised our proposal.
We recently invited over 80 visiting SAG and AFTRA board members to a reception in Century City to solicit their ideas about this concept. These reps – most from markets with far less work than Hollywood – listened with open minds and offered valuable feedback. The next day, AFTRA promised to appoint a special committee