Joe Utichi contributes to Deadline’s UK coverage
The Oscar winning actress denied in the strongest legal terms that she took key elements of a book on the Bosnian War for her 2011 film In The Land of Blood and Honey. “Defendants independently created the Motion Picture without any influence of Plaintiff’s Subject Work,” said Jolie, along with fellow defendants GK Films and distributor Film District, in a 13-page response (read it here) filed yesterday. “Defendants further deny that the protectible elements of the Motion Picture and the book entitled “The Soul Shattering” (“Subject Work”) are legally or substantially similar under controlling Ninth Circuit law,” the response also says. James J. Braddock sued Jolie and the others, on December 2, 2011 for copyright infringement. Filing his suit three weeks before the film came out in America on December 23, 2011, the author accused Jolie and the companies of copying key elements of his 2007 book for In The Land of Blood and Honey.
EXCLUSIVE: You know that the gazillion-selling steamy novel trilogy Fifty Shades Of Grey has reached outlandish proportions when The New York Post devotes today’s front cover to the idea that women are stocking …
Monica Corcoran Harel is contributing to Deadline’s Oscar coverage.
Unlike monotonous years past when a color or style prevailed, tonight’s Academy Awards Red Carpet teemed with extremes. Actresses either went strapless and exposed chiseled clavicles or opted for demure long sleeves. Some coerced their hair into crazy Cinnabon updos, while others played it loose with windswept, just-got-lucky-in-the-limo waves. All in all, it was a good night for fashion. Meryl Streep channeled a female Oscar in gold lame Lanvin, Rooney Mara didn’t wear black and Sacha Baron Cohen claimed to be wearing “Galliano with socks from K-Mart.”
When it came to color, a majority went white — a hue the costume designer Edith Head once said “can be gay or somber.” In the case of 20-year-old Shailene Woodley in a mod Valentino Couture gown, the look was a bit matronly and Babe Paley circa 1960 for such a dewy star. Gwyneth Paltrow, whose bright white Tom Ford column gown with an architectural duster stood out like spilled milk, looked bright and awake. Rooney Mara, however, seemed more like a Tim Burton Goth bride in her Givenchy dress with a bondage-style back and transparent train.
Red, too, made a strong showing thanks to Natalie Portman, Emma Stone and Michelle Williams. Portman’s vintage polka-dotted Christian Dior gown was charming, though the hem was slightly wrinkled. (Shouldn’t limos come equipped with steamers?) Stone’s scarlet Giambattista Valli — embellished with a toaster-sized bow on the left shoulder — had critics hissing that it was too redolent of the Balenciaga dress Nicole Kidman wore to the 2007 Oscars. Oh, stop. Doesn’t Hollywood make the same movies every year? Williams, ever the gamine, looked great in that coral Louis Vuitton with a sweet peplum waist that gave her some curves.
Monica Corcoran is contributing to Deadline’s Golden Globe coverage.
It wasn’t the best of dresses or the worst of dresses. Rather, this year’s red carpet at the Golden Globes felt more like a Baltimore debutante ball than a ribald Hollywood awards show. Updos didn’t crest like tsunamis, diamonds seemed to be hibernating, and the only cleavage worth ogling came compliments of Sofia Vergara and Salma Hayek.
If nothing else, a nude dress contrasts well with the red carpet. But a bevy of blush gowns hardly induces fashion envy. Charlize Theron, Angelina Jolie, Kristen Wiig and Kate Beckinsale all chose the tame epidermis hue, though Jolie’s slash of crimson at the neckline of her Atelier Versace gown — like a gash to her clavicle — certainly added Shakespearean drama. Purple, too, made a popular showing among nominees like Octavia Spencer, Shailene Woodley, Julianna Margulies and Emma Stone. (The royal color has been heralded as the “it” shade for spring.) Metallics, an awards-show favorite and a shortcut to glamour, turned up on Diane Lane (pictured right), Madonna, Lea Michele and Nicole Richie. Lane’s gilded Reem Acra aced best dress; Michele’s risque molten silver Marchesa didn’t work because the young actress tried to outshine it. Shades of blue — from navy to cerulean — also proved a popular choice. Jodie Foster, bedecked in a beaded teal Giorgio Armani gown with a strapless corset and a cinched waist, looked feminine and unflappable.
As for skin, there were few plunging necklines. Sigh. Jolie, Jessica Biel and Viola Davis relied on center or side-slits to bare a bit of gam, and it was much appreciated. Rooney Mara’s tough-girl-next-door black Nina Ricci offered glimpses of her skim milk torso, with its bondage-like chiffon cut outs. Glee’s Dianna Agron and Michele competed for squint-worthy exhibitionism with their laser-cut gowns, but neither quickened my pulse. When it came to jewels, oversized earrings stole the show. FYI: If the unemployment rate hovers at 8.5%, stars tend to wisely eschew the quail egg-sized diamonds and blinding ruby chokers. Then, there’s Madonna. The best original song in a motion picture winner wore $2.5 million worth of Neil Lane gems, including half a dozen diamond and platinum cuff bracelets. Material girl, indeed.
In the end, I say, “all hail Tilda Swinton.” The statuesque fashion-forward icon — with the arm span of a yeti — didn’t disappoint in an ice blue Haider Ackerman skirt suit with strong, sharp shoulders. The red carpet always seems to part for Swinton and she deserves it.
Here’s the list of who wore who:
Final Oscar nomination ballots are due Friday and the season is igniting with contenders rolling from one event to the next — no voter left unturned. Capping a furious week of campaigning and leading into another one, the Palm Springs International Film Festival staged their annual awards gala Saturday night at the cavernous Palm Springs Convention Center and drew a starry group of contenders who tried out their speeches on a ritzy crowd who obviously lives for this show each year. That it falls right in the middle of Oscar voting is totally by design and the reason the fest can draw its A-list of talent that included photog magnets George Clooney, Brad Pitt, Michelle Williams and Charlize Theron, among others. When Pitt and supportive significant other Angelina Jolie came to the Sony table in the middle of the room, there was a tidal wave of locals with iPhones who descended on them, snapping away and pushing me, among others aside. (I actually ran smack into Jolie, who told me “this is wild. I’m not sure what to make of it. I think I need a glass of wine just to soak it all in.”) I guess the crowd figured they were entitled to become paparazzi for a night since many of them paid $1500 to be there; the event raised $1.6 million for the fest according to chair Harold Matzner, who claims the event is second in glamour only to the Golden Globes. Pitt managed to brave the face-lifted Palm Springs throng while walking with a cane, this after he tripped a few days earlier on a ski trip with one of his kids.
Of course there are many more of those to come, and members of the Palm Springs group of awardees and others will be in accepting or presenting mode all week long at events including the New York Film Critics, National Board of Review and LA Film Critics banquets, the annual AFI lunch, the Critics Choice Movie Awards, and finally the Golden Globes. With parties planned this week for DreamWorks Animation’s Puss In Boots, The Weinstein Co and Paramount to name three, this period leading to the CCMAs and Golden Globes is now officially the busiest of the whole season, especially since new Academy rules that allow all this stuff pre-noms also put the kibosh on most of it post-noms. The town is gonna have to dry out anyway. How much can you take, Hollywood?
LOS ANGELES, CA (December 13, 2011) – The Producers Guild of America (PGA), announced today that IN THE LAND OF BLOOD AND HONEY will be honored with the 2012 Stanley Kramer Award. The film’s producers will be honored with the award at the 23rd Annual Producers Guild Awards ceremony on Saturday, January 21st at the Beverly Hilton Hotel in Los Angeles.
The Stanley Kramer Award was established in 2002 to honor a motion picture, producer or other individual, whose achievement or contribution illuminates provocative social issues in an accessible and elevating fashion. Kramer created some of the most respected and successful works in the annals of American motion pictures, with such classics as THE CAINE MUTINY, HIGH NOON, THE DEFIANT ONES, and GUESS WHO’S COMING TO DINNER.