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Costume Designers Guild Awards: Jacqueline Durran Wins For ‘Anna Karenina’, Eiko Ishioka For ‘Mirror Mirror’, Jany Temime For ‘Skyfall’; TV Winners ‘Smash’, ‘AHS: Asylum’, ‘Downton Abbey’

Deadline’s Jen Yamato and contributor Ross Lincoln provided on-scene coverage tonight.

Costume Designers Guild Awards 2013Anna Karenina‘s Jacqueline Durran and Mirror Mirror‘s Eiko Ishioka vaulted to frontrunner status for this year’s Best Costume Design Oscar by taking home top awards tonight at the 15th annual Costume Designers Guild Awards. Durran won the Outstanding Period Film Award, while Ishioka posthumously scored the Outstanding Fantasy Film nod. “One can only do great work if one is given a great opportunity”, Durran said in accepting her honor. Skyfall‘s Jany Temime took the third film award of the night for Outstanding Contemporary Film.

Other Oscar nominees on the shortlists tonight in the Beverly Hilton-set ceremony included Les Miserables‘ Paco Delgado, who in a pre-ceremony shout-out lamented Argo‘s Jacqueline West missing out on an Academy Award nom — “Argo had a vision of the ’70s I thought was so real, it’s a pity they didn’t get an acknowledgement”; Lincoln‘s Joanna Johnston; and Colleen Atwood for Snow White And The Huntsman.

On the TV side, Downton Abbey‘s Caroline McCall won the Period/Fantasy TV Series category, Lou Eyrich of American Horror Story: Asylum took the Television Movie or Miniseries trophy and Smash costume designer Molly Maginnis won for Contemporary TV Series. The night also featured Career Achievement Awards for Eduardo Castro (TV) and Judianna Makovsky (film), who also took the Commercial Costume Design award in addition to being nominated in the Fantasy category for The Hunger Games.

In other awards, Saturday Night Live boss Lorne Michaels received the guild’s Distinguished Collaborator Award after being introduced by SNL alums Steve Martin, Amy Poehler and Maya Rudolph. Martin was spot-on in his stand-up intro, saying among other things about the CDG plaque he received: “Many men want a trophy wife, but no one wants a plaque wife.” Anne Hathaway was presented with the Lacoste Spotlight Award by her Les Miserables co-star Russell Crowe. “Some of the fondest memories of my life are… not the fittings, no!… but the results of the fittings,” she said. “Being pinned and needled, but you look down and you believe what you’re wearing, and when you look up, you are gone, and the character can come alive.”

Among presenters that also included Mirror Mirror star Lily Collins accepting Ishioka’s award, Shirley MacLaine delivered a hilarious series of zings in presenting the Period Film award won by Durran. “I purposefully want to be here to tonight to pay tribute to…all of you people who mess with your bodies and force you to stand still for hours, and also to balance my karma with you. I know I’ve been causing you a lot of grief for 65 fucking years,” she said to laughter. She then went on: “I’m here to present the… the…” — at this point pretending to forget — “the Period award! Sorry, its been so long”. Read More »

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Oscar Winning Actresses Roberts, Theron, Jolie, Weisz Turn Evil To Boost Boxoffice Fortunes

Pete Hammond

Mirror Mirror may not have burned up the box office in its opening weekend. Its estimated $19 million made the family film a distant and weak third, but that won’t stop a trend among Oscar winning actresses from going evil. Not since Bette Davis, Joan Crawford, Olivia DeHavilland and other multi-Oscared legends collectively turned to horror films in order to regain boxoffice clout in the early 60′s have we seen so many Oscar winning actresses decide bad is good for a career, at least as far as playing mean  queens and witches.

Taking a cue from the billion dollar success of Tim Burton’s Alice In Wonderland  which featured a hilarious turn by Oscar nominated Helena Bonham Carter as the  Red Queen, it seems a plethora of Academy Award winning female stars have jumped on the fairy tale evil bandwagon, perhaps in order to prove that Oscar also can still mean gold where it counts, at the boxoffice where none of this award-laden crop have been ‘the fairest of them all’ lately. Mirror Mirror’s conniving queen Julia Roberts is just the tip of the iceberg of this trend. Now with Charlize Theron in June’s Snow White And The Huntsman  , Angelina Jolie about to start Maleficent in a couple of months  and Rachel Weisz having wrapped playing the Wicked Witch Of The East in Oz The Great And Powerful, we have three other Oscar winners of the past decade jumping into the fray. It reminds me of the famous ad line for the 1949 melodrama Beyond The Forest:  “Nobody’s As Good As Bette Davis … Read More »

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‘Hunger Games’ Passing $250M Domestic For #1 Again, #2 ‘Wrath Of The Titans’ Can’t Beat Original, #3 ‘Mirror Mirror’ Disappoints

March 30-April 1 Weekend Actuals

1. The Hunger Games (Lionsgate) Week 2 [4,137 Theaters] PG13
Friday $18.7M, Saturday $24.7M, Sunday $15.2M, Weekend $58.6M (-62%), Cume $248.5M

2. Wrath Of The Titans 3D (Legendary/Warner) NEW [3,545 Theaters] PG13
Friday $12.3M, Saturday $12.7M, Sunday $8.4M, Weekend $33.5M

3. Mirror Mirror (Relativity) NEW [3,603 Theaters] PG
Friday $5.8M, Saturday $7.6M, Sunday $4.7M, Weekend $18.1M

4. 21 Jump Street (MGM/Sony) Week 3 [3,148 Theaters] R
Friday $4.6M, Saturday $6.3M, Sunday $4.0M, Weekend $14.8M (-28%), Cume $92.9M

5. Dr Seuss’ The Lorax 3D (Universal) Week 5 [3,264 Theaters] PG
Friday $2.1M, Saturday $3.5M, Sunday $2.2M, Weekend $7.8M (-41%), Cume $189.3M

6. John Carter 3D (Disney) Week 4 [2,397 Theaters] PG13
Friday $544K, Saturday $892K, Sunday $593K, Weekend $2.0M (-60%), Cume $66.2M

7. Salmon Fishing in Yemen (CBS) Week 4 [483 Theaters] PG13
Friday $345K, Saturday $592K, Sunday $336K, Weekend $1.3M (+81%), Cume $3.2M

8. Act Of Valor (Relativity) Week 6 [1,239 Theaters] R
Friday $291K, Saturday $445K, Sunday $266K Weekend $1.0M (-51%), Cume $67.7M

9. A Thousand Words (Dworks/Par) Week 4 [1,007 Theaters] PG13
Friday $241K, Saturday $428K, Sunday $233K, Weekend $903K, Cume $16.5M

10. Journey 2 (Warner Bros) Week 8 [908 Theaters] PG
Friday $215K, Saturday $361K, Sunday $234K, Weekend $810K, Cume $98.4M

SUNDAY AM, 8TH UPDATE: It’s another huge Wrath Of The Titans Box Officeweekend for the North American box office with $150M, or +25% from last year. Lionsgate’s humongous holdover The Hunger Games won the weekend domestically and nearly internationally again despite two new major releases opening against it. Warner Bros/Legendary Pictures’ 3D action fantasy sequel Wrath Of The Titans failed to come close to the original’s grosses, while Relativity Media’s Snow White comedy Mirror Mirror failed to lure families. Both received ‘B+’ CinemaScores from audiences even if critics were at best lukewarm. Meanwhile, we now know how low Disney’s $200M writeoff John Carter will go: it will be lucky to reach $70M domestic. Starting its 4th weekend in release, this disaster is already discounted at Valley Plaza 6 in Van Nuys for $2 before 6 PM and $3 after.

This weekend’s Top 5 films (rest of Top 10 below)

1. The Hunger Games (Lionsgate) Week 2 [4,137 Theaters] PG13-Rated
Friday $18.8M, Saturday $26.2M, Weekend $61.1M (-60%), Cume $251.0M

2. Wrath Of The Titans 3D (Legendary/Warner) NEW [3,545 Theaters] PG13-Rated
Friday $12.4M, Saturday $13M, Weekend $34.6M

3. Mirror Mirror (Relativity) NEW [3,603 Theaters] PG-Rated
Friday $5.8M, Saturday $7.9M, Weekend $19.3M

4. 21 Jump Street (MGM/Sony) Week 3 [3,148 Theaters] R-rated
Friday $4.6M, Saturday $6.2M, Weekend $14.8M, Cume $92.8M

5. Dr Seuss’ The Lorax 3D (Universal) Week 5 [3,264 Theaters] PG-rated
Friday $2.0M, Saturday $3.7M, Weekend $8.3M, Cume $189.8M

The Hunger Games passed $200M Friday and $250M by weekend’s end. Even more impressive is that the actioner is currently the #1 movie and #1 book and #1 album in America. (The studio just cut an online-only spot with those trifecta bragging rights.) Pic played in the same 4,137 locations this weekend but with a lower screen count because of the end to its limited one-week engagement on all IMAX screens. The film held extremely well during the week, with a record breaking Monday of $10.8M. Second wave promotion exploited this second weekend’s adult curiosity about the movie. Heck, even GOP frontrunner Mitt Romney went to see Hunger Games with his family. “From Presidential candidates to talk show hosts, it seemed everyone was talking about the film publicly,” studio boasts to me.

Though Wrath Of The Titans certainly looked better than 2010′s Clash Of The Titans whose retrofitted 3D was deemed sub-par, its critical reviews fared far worse — only 25% positive on Rotten Tomatoes. Its projected weekend gross (including $1M from 1,490 domestic midnight screenings) was in line with studio expectations. But that’s still far short of the original’s $61.2M opening weekend. Then again the original made 2/3s of its money overseas ($332M of the total $495M cume) and this sequel should, too, to justify its $150M bloated cost. The PG-13 pic released day and date as a worldwide event in 60 territories and on approximately 13,900 screens (9,766 3D and 175 IMAX) in all major markets with the exception of Japan. “We’re off to a great start, with $18M on Friday for a progressive cume to date of $25M internationally,” Warner Bros tells me. In Mexico and Brazil, for instance, Wrath Of The Titans was ranked a strong #1 ahead of The Hunger Games.

In the U.S. and Canada, actioner debuts in 3,545 locations with 2,900 3D locations, 4,400 3D screens, and 290 IMAX locations. As expected, there’s very strong male support both young and older but the sequel’s marketing around “Feel The Wrath” didn’t have the campy coolness quotient of the original’s “Release The Kraken” campaign featuring Liam Neeson. And Avatar‘s Sam Worthington has proven he isn’t a box office draw. (Remember, he failed to open Man On A Ledge.)

Warner Bros positioned Wrath Of The Titans to target younger and older males including ethnic audiences with “an aggressive approach that sold the intensity of the action and the spectacular creature battles, all with great visuals and compelling music,” an exec tells me. Clearly March as a whole, and this pre-Easter weekend in particular, is now as competitive as summer or holiday periods for sizable event films despite distractions like the NCAA Final Four. The studio’s marketing strategy relied on an aggressive TV schedule and online content combined with more compelling 3D. After Jonathan Liebesman replaced Louis Leterrier as director on the 2nd installment, the sequel was supposed to be shot in 3D. But then Liebesman announced that Wrath of the Titans would be converted rather than shot in 3D even though that had been a big bone of contention with fans of the original. To reduce skepticism, Liebesman reminded that the first film Clash Of The Titans had been shot and edited as a 2D film and then converted to 3D just a few weeks before release. Whereas Wrath was conceived in 3D from the start right through editing. Even the most contrary reviews say the film is much better-looking than the original thanks to Prime Focus World, which did the original 3D as well as the sequel’s. Reception to story was decidedly mixed. Screenplay credit went to Dan Mazeau and David Johnson who also received story credit with Greg Berlanti.

As for Mirror Mirror, its $85M cost was piggybacked by a very expensive full-frills TV ad campaign that didn’t justify its disappointing $19M domestic debut. That number was below even the studio’s lowball expectations. As usual, Relativity claims its actual exposure on the film was far less — “just under $30M” — after foreign pre-sales, Montreal tax incentives, and its Netflix deal. On the other hand, Relativity’s Ryan Kavanaugh is newly beholden to investors like savvy Ron Burkle who may not be as patient with razor-thin profit margins as Elliott Associates once was. One thing is certain: Mirror Mirror is the opposite of the “Hail Mary” blockbuster which Kavanaugh hoped it would be to dig Relativity out of its financial mess. I’m not sure how director Tarsem Singh justifies a career trajectory that starts out with visually arresting The Cell and The Fall, continues through Immortals, and ends up here. Or why star Julia Roberts banked her cold career comeback on this hot mess. What the movie does is audaciously play the Brothers Grimm story for lame laughs. It’s 180 degrees different from Universal’s much anticipated Snow White & The Huntsman adult swordfest releasing June 1st though the two projects were developed at the same time. But Mirror Mirror‘s target audience is kids ages 6-12 and their parents. Now the studio hopes that, with schools out next week and the week after for Easter vacation, its pic won’t be played out this weekend. Overseas, the film has already opened in a dozen territories and this weekend debuted day and date in a dozen more.

Marketing-wise, Relativity partnered with Bloomspot, a leader in the local offer space, to launch on March 24th a first-ever promotional screening program for the member base in 11 U.S. markets: Atlanta, Boston, Chicago, Denver, Houston, Los Angeles, New York, San Diego, San Francisco, Seattle and Washington DC. Relativity also initiated promotions in the top 50 markets. Key digital initiatives included Annoying Orange (You Tuber), Social Queen video, parent blogging, a Snow Spell featurette on ParentsConnect.com, integrated gaming expériences on top sites targeting children like Poptropica.com, Nick.com, GirlsGoGames.com, Webkinz.com, as well as mobile apps targeted to young girls. Relativity Music Group released the original motion picture soundtrack for Mirror Mirror on March 27th and included an original score by 8-time Oscar-winning composer Alan Menken, along with two new versions of the reworked Nina Hart song “I Believe in Love” performed by the film’s Lily Collins (The Blind Side) that plays over the end credits. Credits on the screen story go to Melisa Wallack and the screenplay to Marc Klein and Jason Keller.

In other box office news, the CBS Films pickup, Salmon Fishing In The Yemen, cracked the Top Ten for the first time while playing in just 483 locations. Studio stresses that the film performed much better than other current and recent platform expansions at this level. “The most interesting data point is that holdover theaters (124 existing locations) were down only 18% from last week. In fact, just like last weekend, several of the top twenty runs were actually up from the previous Friday.” CBS Films will keep rolling out the pic in the weeks ahead to see how long the Salmon can run…

Here is the rest of the Top Ten with numbers refining later Sunday morning: Read More »

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Relativity Squeezes YouTube’s The Annoying Orange To Promote ‘Mirror, Mirror’

By | Friday February 17, 2012 @ 10:18am PST

EXCLUSIVE: Don’t ask me why so many young people are enthralled by YouTube’s The Annoying Orange. But millions seem to love the whiny character — and that has impressed Relativity Media. It just became the first movie studio to employ The Annoying Orange to promote a feature film: Mirror, Mirror, the upcoming comic revision of Snow White featuring Lily Collins and Julia Roberts. The massive fan base for the character, created by Dane Boedigheimer and produced and distributed by Collective Digital Studio, “enables us to reach Mirror Mirror’s family audience in a nontraditional way,” says Terry Curtin, President of Theatrical Marketing for Relativity. More than 2.3M people subscribe to The Annoying Orange’s YouTube channel, and since October 2009 its videos have had 1B views. Cartoon Network also plans a series around the character. Will this campaign help or hurt Mirror, Mirror? You decide:

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Relativity Pushes Back ‘Mirror Mirror’ Release To March 30

By | Thursday January 26, 2012 @ 10:54am PST

Relativity’s Mirror Mirror, the studio’s take on the Snow White tale that stars Lily Collins, Julia Roberts and Armie Hammer, is moving its wide release to March 30, 2012. It had been set for March 16. The move now pits the Tarsem Singh-directed pic against Warner Bros’ Wrath Of The Titans that weekend — and notably comes a week after Lionsgate releases The Hunger Games (it’s probably a safe bet to get to the other side of that much-buzzed-about project). The move does place the family-targeted film closer to spring break and the Easter holiday, and comes on the heels of the studio moving dates for three other films earlier in the week to give its first-quarter slate some breathing room.

Of course, today’s shift still means Mirror is coming out before Universal’s competing Snow White film, the revisionist take Snow White And The Huntsman, which has staked out a June 1 date. But it’s the latest shift in the Snow White wars that has taken place since the two projects were announced, with both studios trying to move their pics ahead of the other on the schedule before Relativity moved its version way up to March.

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Who’s Faking ‘Mirror Mirror’ Praise? Hmm…

By | Wednesday November 23, 2011 @ 3:08am PST

We know Hollywood studios fake film reviews and movie ads. Now a sharp-eyed blog recently noticed some “strangely optimistic comments” from the same IP address within a 2-hour span after posting Relativity’s Mirror Mirror trailer. Turns out MovieMavericks.com found the exact same comments placed on many other blogs that posted the Mirror Mirror trailer. “The big question is who’s behind this ‘astroturfing’? Is it someone in Julia Robert’s camp? Tarsem Singh’s, Armie Hammer’s or Lily Collins’ people? Has Relativity Media hired some grey area marketing agency? Or is it simply a devoted fan?” the website asked. Oh puh-leeze: studios regularly hire trolls to post comments on the Internet.

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Hot Trailer: Relativity’s ‘Mirror Mirror’

Last week we got a glimpse of Universal’s Snow White And The Huntsman directed by Rupert Sanders. The first trailer for Tarsem Singh’s take on the fairy tale arrived today. Relativity’s Mirror Mirror will make it to theaters March 16 ahead of Universal’s version set for June 1.

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‘Snow White And The Huntsman’ Banner




Universal has released new artwork for Snow White And The Huntsman. The three-character banner shows Kristen Stewart and Chris Hemsworth as the title characters and Charlize Theron as the Evil Queen. Directed by Rupert Sanders, it’s slated to open June 1, 2012. Relativity’s rival movie — a lighter version of the same fairy tale directed by Tarsem Singh — recently titled Mirror Mirror, reaches theaters first on March 16.

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Relativity Titles Its Snow White Film ‘Mirror Mirror’

Mike Fleming

Relativity Media’s Snow White movie now has a title. Mirror Mirror, described as a comedy action adventure that stars Lily Collins, Armie Hammer, Julia Roberts, Nathan Lane and Sean Bean, will be released March 16, 2012. That puts it well ahead of Universal’s Snow White and the Huntsman, which opens June 1 and looks more like The Lord of the Rings than a light fairy tale.

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