CinemaCon, like its namesake Showest before it, has always been about exciting the theater owners with new technology and product meant to get them pumped for their direct connection to the customer. While the textures of this year from “Life Of Pi” to “Skyfall” provided some interesting visions, none was more discussed or contested like the footage that Peter Jackson showed of “The Hobbit”, shot at 48fps, which only a year or so after the acceptance of 3D and the near conversion to full digital, takes the string up one more notch. It is all about what you show.
Paramount Heading into summer, Paramount opened the con by honoring Dwayne Johnson with the “Action Star Of The Decade Award” with studio head Rob Moore calling him “franchise viagra”. Johnson, with his textbook charm along with director John Chu, best known for the”Step Up” films, introduced a dexterous element of scenes from the film which both showed humor and drama. Next, Tom Cruise, in a taped greeting from the set of “Oblivion” [directed by Joe Kosinski] in Baton Rouge, spoke before showing scenes from “Jack Reacher” directed by Christopher McQuarrie whose last helming outing was “Way Of The Gun”. Two scenes adapted from the graphic novel distinctified “tone” which Cruise mentioned in his opening remarks. Rob Moore then turned the stage over to Jeffrey Katzenberg who, after a great year with “Kung Fu Panda 2” and “Puss In Boots”, brought “Madagascar 3” and “The Guardians”. The third entry into the “Madagascar” franchise showed almost 15 minutes of the opening optimizing new animation techniques since the last one in the series with Chris Rock coming on stage saying that it was the best so far adding that some parts were “trippy” which reflected in a circus montage. “The Guardians” based on a children’s book is a completely different animal using “myth” and “belief” to approach its subject matter with an edge and texture. Chris Pine who leads the cast as the voice of “Jack Frost” spoke about the key in the character to finding “the center”. Interestingly, the whole time he was speaking, all of his remarks also applies everything he sees in this character to James Kirk for which he is currently shooting the sequel to “Star Trek” as. The ending of the presentation did not disappoint with Sascha Baron Cohen making his second public appearance as “The Dictator” complete with girls and soldiers in tow and walking through the crowd. After throwing some zingers on stage as is his MO, Cohen as the character angled out Katzenberg as the other “dictator” in the room before announcing (which most thought as a joke) that the film would be screening at 11pm up the Strip and that it was not a threat before he exited with great fanfare as Katzenberg kissed his ring.
Warner Brothers The texture of Warner Brothers relies in being able to follow up the powerhouse of Harry Potter. While the arrival of Tim Burton and Johnny Depp to introduce an extended trailer of “Dark Shadows”, it was Christopher Nolan talking about shooting almost a 1/3 of his “Dark Knight Rises” in IMAX that offered a stemming view of a brooding dark conclusion so much so that Adam Shankman who showed an extended trailer of “Rock Of Ages” including the first bit of Tom Cruise singing threw a “you fucker” line at Nolan because of how unbelievable bad ass it was. Director Jay Roach then talked about the balance of political “broo-haha” in regards to his new film:”The Campaign” starring Will Ferrell and Zach Galifianakis. However it was moving into fall that offered the most interesting view with the first glimpse of footage from Baz Luhrmann’s “The Great Gatsby” in 3D which Luhrmann explained in a taped message from Australia allows you to see the actors shine without any visual effects. Lastly, Peter Jackson introduced in 3D from New Zealand, the first footage of 48 frames per second from “The Hobbit”. Like seeing “Avatar” for the first time, it takes some getting used to because it is a completely different movie experience in terms of perception with Jackson showing distribs around 10 minutes of footage. One piece in particular showing Gollum’s face very close to camera shows the distinctiveness of this frame rate as do flying shots (like those seen in the original trilogy). Another one very specific to the changing viewpoint of the immersion of the technology is when Gandalf is alone in the catacombs. The depth of the shot makes you think you are actually there though the process does retain an almost HD camera quality in terms of perspective which is rather hard to describe.
Disney Balancing out with the texture of brand specifications from Warner, the Mouse House used the cross structure promotion with Marvel, Pixar and Dreamworks to fuel the fire. Marvel presented a short clip from “The Avengers” intermixing Iron Man, Thor and Captain America with bone-crunching sound followed directly with the announcement of Thor II and Captain America II before Marvel President Kevin Feige showed a small clip leading to the production of Iron Man III which begins production in North Carolina later in the month. Progressing into Dreamworks, the aspect of “People Like Us” starring Chris Pine and Elizabeth Banks (and directed by Alex Kurtzman of “Star Trek” and “Fringe” frame) capitalizes on the studio’s penchant for more novel based forms. “Lincoln” which makes its distribution stateside through Fox, was also mentioned, without texture of a trailer likely to be seen at Fox’s Presentation two days later. Disney Pictures itself started quietly with sleeper quality textures of the stop motion film “Frankenweenie” directed by Tim Burton which does contain odes to Brad Bird’s “Family Dog” episode of “Amazing Stories” and definitely suburban angles of “Edward Scissorhands”. “The Odd Life Of Timothy Green” starring Jennifer Garner and Joel Edgerton seems more reminiscent of Disney fantasy/morality films of the 70s like “Pete’s Dragon” depending on the tone of the eventual picture. “The Wonderful World Of Oz”, which just completed filming just a couple weeks ago, boasts a great pedigree in director Sam Raimi re-teaming with his “Spiderman” villain James Franco as the titular character here. The story details unearthed by the director speak to an interesting betrayal in the story of sorts centering around Mila Kunis’ character which fuels the intentions of what happens in the world. The footage shown dictates a mixture of sets, which producer Joe Roth identified as Detroit, as well as some interestingly created background CG mattes which might or might not be the final textures. Conversely, Jerry Bruckheimer was brought out by current live action film prexy Sean Bailey after a short live stage bit about Kermit wanting to be the Lone Ranger and Miss Piggy wanting to be the Good Witch in Oz. Entertaining for sure. Bruckheimer spoke of them shooting in Arizona with Johnny Depp coming out and speaking as well. Depp made reference to that fact that “I just saw a frog and pig out here. Did anybody else see that?” When asked about Tonto, Depp deferred in a show of modesty saying, kindly, that he wants the theater owners to see it when it is done. With no footage to speak of for the title with the exception of a photo, details are still scarce. John Lasseter, head of Pixar and Walt Disney Animation Studios, came out next to discuss his slate. “Wreck It Ralph” is a non-Pixar film which is interesting in its own right following a bad guy in an 8-bit video game stuck in an arcade. Lasseter spent a good ten minutes setting up the premise and characters before showing the first ten minutes of the film. John C. Reilly, who spoke about trying to improvise during the recordings with sometimes co-star Sarah Silverman, gives a definite heart to the character. A specific “bad guys anonymous” scene represents this with a dexterity and tongue-in-cheek element replete with visual gag cues. Representing beyond and speaking into the Pixar mode, the announcements in terms of new structures (beyond “Monster University”) border on more esoteric which might be undeniably groundbreaking with one being “The Last Dinosaur” with only a silhouette of a brachiosaurus present and another one that can be encapsulated as “Journey Into The Mind” but probably not in the “Fantastic Voyage” way. Finally, as a perspective of a film which has been interestingly placed without any real knowledge of it, Lasseter unspooled nearly a half-hour of “Brave” which follows the exploits of a tomboyish princess in the highlands of Scotland. While interesting echoes of Robin Hood play through especially when the heroes take disguise, what does seem to ring through. which was not prevalent before as much in the other Pixar movies (because this is inherently a human world), is the reactions of the animals and others in a more realistic way which was a hallmark of say “Beauty & The Beast”. It shows how the feature animation side of Disney is being impacted by Lasseter. While not at the full potential of Disney because of responsibility to the shareholders, he is pushing the bar in subtle ways as he can.
Filmmaker Forum: Martin Scorsese & Ang Lee Whenever you get Martin Scorsese in the room, the perspective becomes one of a film class which is interesting when he is speaking to a roomful of theater owners. The impact of “The Hobbit” footage at 48fps had been ringing for about 24 hours and everybody had an opinion on it, both good and bad. This forum was more about 3D with Scorsese’s “Hugo” pushing the barrier last year in terms of serious filmmakers from a dramatic point of view. Ang Lee, mostly known for his more direct non-genre dramas (but Oscar-winning fare) recently immersed himself in 3D for his Christmas release “Life Of Pi” which many said to be “unfilmable” (and for good perspective reason). While it is interesting to see these men discuss the virtues of this medium, it almost feels like they are behind the ball because the technology is moving so fast. Before the discussion began, a sample of 120fps technology was shown. The eye cannot see, for what is being said, beyond 60fps. The footage here was more smooth gliding elements but the separation dictates the depth. This is one thing that did interact in terms of the Scorsese/Lee discussion because lighting becomes even more of an important structure which Lee said drove him mad in certain respects on “Pi”. Scorsese reflects that the I/O, which determines depth in 3D, was something he and his cinematographer Robert Richardson constantly toiled with on “Hugo”. He however said it was one shot when Sascha Baron Cohen is staring down into the camera with his dog in forced perspective that gave him chills because it showed what the technology was capable of doing. Lee, still in the midst of figuring everything out on his movie, spoke on the essence of using water since a lot of his movie takes place in the ocean. The Taiwanese government ended up building him a massive tank but the camera was the first to use a housing to shoot 3D actually underwater. Neither had seen “The Hobbit” footage so they could not comment though Scorsese seemed visibly intrigued at everyone’s reaction. He compared it to a movie he showed to his daughter, her school friends and some of their mothers at his home in New York recently. It was from back in the 30s where the aspect ratio and the color changes during the film (much like “Wizard Of Oz” in some respects). People, he said, spoke the same way about color. It is just something that will eventually, after growth spurts, become a mainstay. 3D took a little longer but eventually is having its day.
Sony While franchises seem to pile on with respect to the Sony brand, the intention seems to reflect that bigger is better quality. While “MIB 3” and “Total Recall” showed extended structures in 2D, it is interesting to perceive their eventual release.The time travel perspective of Men In Black does not quite have its plot direction set in the footage shown but the humor, as always, plays dry and loose with Josh Brolin doing a spot on impression that you would almost think that Tommy Lee Jones is doing the voice over. “Total Recall” oddly enough recreates an almost deja-vu situation because the set ups in terms of plot device to the original are eerily similar with a swig of “The Fifth Element” thrown into the mix. The world is intense and Kate Beckinsale, melding a character that mixes Sharon Stone and Michael Ironside from the original, is bad-ass especially in an extended foot chase sequence that just screamed with adrenalin yet felt wholly original. The intention of what Douglas Quaid is being accused of here is played a little more than conjecture. “That’s My Boy” looks to bring Adam Sandler back to full resolution after the misfire that was “Jack & Jill” but the man experiments with comedy (albeit more low brow) much like Will Ferrell but with more success on an ongoing basis. This is an R-rated romp that has textures of “Little Nicky” but with more curse words and breasts. Sort of like Billy Madison grown up. It looks hilarious because Sandler’s character can go nuts because Andy Sandberg takes on Adam’s usual role with aplomb. It should kill for sure. And as the announcements proved, “Grown Ups 2” is around the corner a summer from now. “The Amazing Spiderman” also seems to be trying to find its footing. The hardest thing in rebooting the franchise is selecting the right tone and space within which to set it. The humor and action shown here is seeking a balance for sure and the scale surely feels much bigger than the last franchise. Andrew Garfield’s approach is more aloof at times though Emma Stone stabilizes the structure. Denis Leary as the police captain who sees Spiderman as a threat will bring some added tension and the more comprehensive view of Lizard Man promises interesting feelings but it all contains relevance in heart depending on the end product. “Resident Evil: Retribution” shows Paul W.S. Anderson pushing the 3D ideals but the mythology is getting extremely deep. However as long as Milla Jovovich can wield a sword and guns with fire blazing behind her (with extended I/O mind you) people will flock. The final perception allowed was a first look at the Bond film “Skyfall” directed by Sam Mendes. The teaser is dark with overcast skies and dark rooms. It seems almost built like a brainwash sequence. The music is rumbling and has tendencies of foreboding much like “Road To Perdition” which gave chills. Granted it gives no perspective of overall story but the tone indicated feels much like “The Dark Knight Rises”: a dark humor that mixes with tragedy.
20th Century Fox With two summer films that hang on the precipice with different elements at stake, the ideas are humming. With “Prometheus” and a bang up viral campaign, director Ridley Scott seems to know what he is doing. The extended trailer showing the landing sequence onto the planet in its full glory has a dexterity and industrial feeling that only Scott can do. “Alien” DNA plays heavily into the trailer from the ship to the Space Jockey. The blood letting definitely paints it well. It looks phenomenal on the big screen. “Abraham Lincoln: Vampire Hunter” I have been interacting with over the past couple months. It is a near idea that is perched between real life and genre which is always a hard sell. Director Timor Bekmambetov has the chops to make it happen and the new footage plays to more the historical basis and less of the acrobatics which may be a conscious decision. “Neighborhood Watch” is another interesting amalgamation with Ben Stiller, Vince Vaughn and Jonah Hill moving into an alien invasion hybrid comedy where they become defenders of their community, swilling beer and taking no bullshit. It is interesting but the line being walked is a tightrope. The final perception to be mentioned on Fox’s upcoming slate is “Life Of Pi”, Ang Lee’s 3D epic to be released at Christmas. Lee showed one sequence and one scene from the film to show what he is trying to do. What comes across for sure is a necessity to use 3D as a storytelling mechanism of immersion. The sequence involves the marooning of the lead character on the ocean and the sinking of the freighter he is traveling on. At first it seems almost simple but the single long takes show a deeper thought at work. Like “Titanic” in a way but more intimate, Lee’s camera follows the actor (picked from a worldwide casting search) underwater trying to save his family who is trapped in the water below deck. The 3D camera picks up the bubbles which gives a much more real feel. Pi, the lead character, ends up on a life raft which a zebra (there are a lot of animals on the ship) jumps onto. The perspective of that and then a Bengal tiger (an integral part of the story) jumping on as well while rain is pouring down, makes on realize that there is a lot of stuff going on technically here. One of the most beautiful shots comes around this point where you can see the sinking ship lingering below Pi in an overhead shot with its lights still on. He disappears below the surface and you get a sense of scale. When 3D starts to be used for this kind of thing (which Cameron embraces as well) is when you will get some killer stuff. The other scene Lee showed is very reminiscent of “Old Man & The Sea”. You can tell at a point it is in a studio stage while Pi and The Tiger fight over their food of flying fish along with tuna that sail into the boat. It has that aspect of Anthony Quinn and the primal fight. The tiger (which is probably CG but it is so seamless as not to be believed) blows Aslan from “Narnia” out of the water with its reality.
CinemaCon, showing new advances, continues to challenge theater owners and, by extension, audiences by trying to keep up with changing technology and rights conversion which, while exciting, always seems to come with a bit of apprehension but ultimately interest.
Showest is always about showing the evolution of the movie theater experience. Whereas two years ago, the worry was that home theaters would take away the element of going to movies, the advent of 3D in the past two years has completely turned that angle on its ear. Last year’s argument involved the greater thought of how to afford to fit the current theaters to have 3D capabilities but the realization with “Avatar” is that there is always possibility. This motivated a new level of capital involvement because the films opening now do not have enough screens with audiences screaming for their inclusion. The paradox is quite humorous in its overall irony. This jolt of energy reflects in the intent of the studios and the inclement of star involvement which in recent years had been waning. The business is cyclical as ever.
Toy Story 3, Big 10 Award & Disney Opening Day Luncheon For the opening of Showest proper, Disney brought, through the voice of John Lasseter, the next installment in the Toy Story saga. While not directed by him, but rather by his longtime editor, his thought was that he wouldn’t give the films he made to anyone. After accepting the award from NATO for having 10 successful films at Pixar in a row, Lasseter introduced a new 3D short, “Night & Day”, shown for the first time outside the studio which he is says is the most creative piece he believes they have done to date. After this short, which uses Master Image 3D as an alternative to Real D, the producer and director of Toy Story 3 came out. Reflecting an earlier sentiment from John Lasseter that this screening would be in 2D and not 3D because post still had 5 or 6 weeks to go, illicited some questions. They also spoke that there was still temp score and that some shots near the end were not fully completed. Afterwards Disney held a luncheon in the main ballroom lining up the posters for all the Pixar Films side by side while Nathan’s served hotdogs and an 80s band worked the crowd. Buzz and Woody were present for pictures before the day moved on.
Letters from Juliet & Summit Dinner After a one/two punch last fall with “New Moon” and with a newly minted Best Picture Oscar in the form of “Hurt Locker” only a week ago, Summit is occupying the slot once beheld by Dreamworks. The key now is the types of films they present which is always in a general sense across the industry a crap shoot. This year they brought “Letters To Juliet” starring Amanda Seyfried set in Verona Italy which releases in the next couple months. The dinner following highlighted the Italian essence while the intermittance of Budweiser motivated conversation with theater owners on the pros and cons of restaurant integrated theaters and the hope of their return to major metropolitan areas like Los Angeles.
Lionsgate Reception, Kick Ass & Dinner The essence of Lionsgate this year rests in their progression of “Kick-Ass”, their take on the superhero genre. Lionsgate and the distribution team presented the screening to packed house along with a test consumer audience which allowed for a more organic interaction. It was proceeded by a new trailer of “The Expendables”, the new action movie directed by Sylvester Stallone and starring nearly every action star on the planet. The day before at the Bellagio at a private reception, Stallone interacted with the theater owners which is always important in terms of extending goodwill on the basis of the film. Crown shots and Patron Screwdrivers swirled with fondue as guests could take pictures in a green cape where their heads are photoshopped on top of one of the “Kick Ass” characters. The dinner proceeding the screening featured a great performance by all-female string quartet Phat Strad who played everything from “Moon River” to “Live & Let Die” as the character banners of “Kick Ass” flowed behind. With other films coming this year whose titles flew by on the party screen including “Killers” starring Ashton Kutcher and “Buried” (acquired at Sundance) starring Ryan Reynolds, Lionsgate as evidenced by the speech of one of its executives at the screening, is moving to evolve to the next level but realizes that the motion picture division is still what motivates the entire ancillary market whether it be digital home distribution, on demand or home video.
Back-Up Plan & CBS Films Luncheon CBS’ first foray into feature films plays into the aspect of its strengths but also in highlighting from possibilities in its TV archive. The first film “Extraordinary Measures” showcased Harrison Ford and Brendan Fraser but in a structure more suitable to a TV movie. “The Back-Up Plan”, the second outing in more in structuring with a formative genre outlay. This romantic comedy stars Jennifer Lopez in a role both truthful for her but also formative as her comeback vehicle after taking some years off to be with her twins with husband Marc Anthony. Joining her in the film is Alex O’Loughlin who starred in the Joel Silver vampire series “Moonlight” and then the short lived “Three Rivers” both on CBS. It speaks to cross medium interaction which will be key to the introduction of new talent. With Lopez guesting on “How I Met Your Mother” in advance of the film opening, this kind of symbiotic element is in congruence of a new way of reaching audiences.
Post screening at the luncheon, Lopez took the podium, poised and business-like as she has always been, knowing the product that she is selling but also the importance of the business. She indicated her love of the genre and that it was the correct film to return in as she moves back into her movie career after her maternity break. Amy Baer, the head of the film division, seems to understand the aspect of demographic but also the necessary breakdown of different ideas at play.
“Beastly”, CBS’ next film, keys into the teen demographic but understanding that the young population is more adept to needing more stylistic substance as “Twilight” has shown. Stars Vanessa Hudgens and Alex Pettyfer approached on stage but not to be undone by Neil Patrick Harris, who after hosting the Tonys and the Emmys, knows how to control a room. His humor spoke to the fact that Vanessa was hot but that Alex cannot be denied. In seriousness after showing a clip, Harris says that the key is giving this young person’s story the slickness of an ultra Hollywood production. He enjoyed watching it beyond being in it which speaks to his taste.
Aside from announcing the film adaptation of “Gunsmoke” which has not yet set its cast or director, Baer and her crew brought forth Dwayne “The Rock” Johnson and Billy Bob Thornton straight from the set of “Faster” which is only two weeks into production. They showed a quick clip reel of what has been already shot which looks like a return to hard action form. Johnson spoke that after doing the family films, it was time to return to the genre he loves. He understands the balance needed. Thornton, a little thinner with dark hair, plays to the fact that these types of films are cool but that having the right studio behind you is necessary.
New Visions & Corner Spots Outside the ballrooms and screening theaters in the corridors of the Paris Convention area, the halls are covered with posters and standups providing trailer looks at new material to entice the theater owners. “Wall Street: Money Never Sleeps” [Fox] tells of the return of Gordon Gekko (Michael Douglas) as he seemingly draws in the young Shia Laboeuf who is involved with the former magnate’s estranged daughter. The poster is seemingly reminiscent of “Devil’s Advocate”. “Knight & Day” [Fox] by comparison in its trailer has paradoxes that can be effective and interesting depending on how it plays out. There are some feelings of a “Mr. & Mrs. Smith” though Cruise’s performance seems to play a bit broader with his comedy. It is actually refreshing to see him in this form. At one point he places on sunglasses and you see that glint of Maverick. Cameron Diaz is playing more to a bumbling form of physical play but you don’t get to see as much of the character persona in this short look but the action seems less CG motivated and more practical based. “The Other Guys” [Sony] involves a cool teaser where both Mark Wahlberg and Will Ferrell are vaulting through the sky in slow motion but ends with them in the rigging that they use in the actual production so it is uncertain in terms of what the plot will revolve around. “Takers” [Screen Gems] plays to the dealer incentive and boasts an interesting street cred cast including Paul Walker, Matt Dillon, Idris Elba, Michael Ealy, Hayden Christensen and recording star TI but gives no true indication of the narrative flow.
When in Las Vegas, it is always nice to get away to essential regulars and a new transition. Hidden on the other side of the 15 on Charleston, Frankie’s Tiki Room shelters itself from the knowledge that it loves what it is. The drinks have a verve of possibility from the Mutiny to the Bender Ender. Off Strip spots cater to the locals and understand the vibe. From the ultra grooved decor to the chilled bartender and specifically the sound appropriate set up, the cool spot to be was here. Not to say, that evenings don’t evolve. Always a place of infinite fun, especially when talking back to the girls behind the bar, Hogs & Heifers is a mainstay in downtown. Michelle Dell’s transplanted roughhouse from New York is the original inspiration for Coyote Ugly. Tequila shots go down every which way and balance especially on top of the bar received applause. With Fremont Street reaching South ever so succinctly, The Griffin Bar shows it dark coolness late into the evening. The Irish purmutation of the night requires Irish Car Bombs post Jameson with the pouring reaching generously into the night even as the signal light remained dim.
Warner’s Big Picture 2010 Warner has always been known for pulling out the stops at Showest. In a return to form, many studios understand the power of bringing talent out to meet the exhibitor since it shows an essence of enthusiasm on the part of stars themselves. This of course is buoyed by some script writing of course but the reality is that you can see when Alan Horn, head of Warner, believes in something. He gave the go ahead to “Harry Potter” when he became the top dog at the studio and the franchise has performed with flying colors.
Dan Fellman begins the presentation by bringing his distribution staff on stage. Warner has always been about making sure the right angle hits the screen. It is a very specific process which has become more and more refined over the years. When Horn comes onstage, he speaks of the record breaking year Warner has had and speaks to the success of “The Hangover” as a good example of cooperation between the studios and the exhibs as the longer it played, the more money it made everyone. He also hails the extreme success of 3D and that most of their films will be upgraded to the format to meet demand. This intrinsically painted the structure for “Clash Of The Titans”.
Director Louis Letterier who spoke of being an inherent fan of the original at the age of 8 also made reference of the man who they would all ask their 3D questions to in the form of Sam Worthington, the star of 2009’s monster hit “Avatar”. The 3D footage of “Clash” shown represents a cross section of what was completed in advance of the film’s anticipated release date. Christopher Nolan then came to the stage, professional, cut in a suit that has become his trademark. He explained that he wanted to give a little more of a glimpse into “Inception” without giving too much away so the exhibitors could have some sense of what they would be playing. He summarized the gist with Leonardo DiCaprio being a type of investigator who is able to enter other people’s dreams. The extended footage speaks to the more noir specifics of this perception.
John Patrick King next unveiled a more worldly approach with “Sex & The City 2” speaking of the essence of Morocco and the absence of Kim Catrall as his lovely ladies approached the stage with finesse in the form of Kristin Davis, Cynthia Nixon and exec producer Sarah Jessica Parker. Catrall he speaks was starring in a production in the West End of London and could not be there. Zack Snyder, deep in post on his new “Sucker Punch” movie, presented his “Guardians” animated family picture. He admits that his kids wanted to know why they never saw his films which motivated him into this space at the motivation of Animal Logic whom he had worked with on “300”. This angle for him seems like a natural extension though the edginess needs to be maintained.
“Life As We Know It” brought director Greg Berlanti to stage in a romantic comedy format starring Katherine Heigl and Josh Duhamel in advance of his next directing duties on “Green Lantern”. Heigl spoke of her love of the genre and doesn’t intend to slow down though Duhamel seemed a little uncomfortable on stage rather letting the material speak for itself. Todd Phillips, who brought “The Hangover” to Showest the year prior, precluded the volleying daredevil antics of Zach Galifinakis and Robert Downey Jr.as they perpetrated their new comedy “Due Date” which keeps the “Road Trip” mentality clear. Zach and Downey’s seemingly easy prankish carefree idealization in no small way helped by the smoked-out coolness of Phillips himself who knows how to keep the ball rolling.
The closer of “Harry Potter & The Deathly Hallows” involved some unfinished sequences and shots that showed some of the darkness coming forth buoyed by the fact of Alan Horn’s announcement of the continuation of the 3D proliferation within their biggest franchise. Warner keeps the pace going understanding that the necessary is a nice cross section filled with energy and star power.
Prince Of Persia & Showest Awards Dinner Jerry Bruckheimer, in town to receive the Lifetime Achievement Award, introduced his next big screen outing in the form of “Prince Of Persia”, being released this summer starring Jake Gyllenhaal. Post screening, the press interaction before the awards brought through three of the ensuing recepients. Jerry Bruckheimer spoke of “Pirates 4” which is set to start shooting in June but unsure if the film would be done for 3D. The market, he says, is saturated but what allows him to keep going at this level is his executives. In terms of “Persia”, he describes it as a romantic adventure, albeit one set in the 6th Century and says that is the kind of fun “Pirates” was but clarifying that it is much more plot driven. He also spoke of a new project entitled “Horsehunters” set in Afghanistan which was based on a NY Times article.
Comedy Director Of The Decade Jay Roach, best known for “Austin Powers” and whose “Dinner For Schmucks” comes out later this year, says no one knows what is funny. You tend to find it in the uncertainty. Steve Carrell, for example, he says, has a way of playing off-center delusional characters. In the end it all becomes about casting. Next, Katherine Heigl, recently a mother, came out with a new black hairdo which was seen earlier at the Warner function. She says she didn’t understand before what Showest really was about but now realizes that the theaters are trying to keep it current. She says that the hairdo is in anticipation for a role she is hoping to get off the ground which is Stephanie Plum, the heroine of Janet Evanovich’s “One For The Money” which is part of a franchise of books. She doesn’t she doesn’t feel like her native German/Irish with this hair. She also laughingly talks that she is beating comedies to death but that she loves them. She said also her next film which is in the can (“Life As We Know It” spotlighted at the Warner presentation) allowed her to “learn on the go” for her new role as mother.
With Billy Bush of “Access Hollywood” hosting, the dinner sped by with chicken, salad and asparagus leading the way. Jerry Bruckheimer accepted first speaking of the point that the Lifetime Achievement Award is usually given when somebody is approaching the end of the career. He says though that his mother lived to be 104 so by that standard he has over 48% of his career still ahead of him. He also referenced his roots as a Detroit boy. Jay Roach balanced his perception as Comedy Director Of The Decade saying that “comedy is about exagerration so this is a very funny award”. The young in play were highlighted in the stars of tomorrow in Vanessa Hudgens and Alex Pettyfer, both of CBS Films’ upcoming “Beastly”. Hudgens says that in this business she already feels old while Pettyfer gave his props to CBS Films Head Amy Baer who picked him from obscurity though he did have the lead in Weinstein Company’s “Stormbreakers”.
Amanda Seyfried, who received the Breakthrough Star Of The Year Award for her roles in “Dear John”, “Chloe” and the upcoming “Letters From Juliet” which also screened at Showest, maintained a humble structure calling the award “encouraging”. Katherine Heigl, picking up Female Star Of The Year, seemingly set her dress aflutter as one strap came undone as she was walking up to the stage. Billy Bush then became the designated holder as he tried to keep from breaking into a laugh on-camera. Heigl’s first comment revolved around “Thunder Down Under”, the male revue show in Vegas describing that the advertising couldn’t be any more obvious. Drumroll.
Sam Worthington, honored with Male Star Of The Year, said the honor was “embarassing” but also “gives you a shitload of confidence” adding that he has “the best job in the world” despite starting off as a bread maker in Perth Austrailia. Zach Galifinakis, with a newly forming beard collecting his Comedy Star Of The Year Award, seemingly went off script without even knowing the venue he was in which made his act all the more surreal and applause worthy. His “Hangover” director Todd Phillips, who nabbed Director Of The Year, accepted in perpetuity admitting “I am a moron” while simultaneously telling stories of loving movies in youth particularly encouraging movie theater attendees to buy “Ice Pirates” and see “Star 80”.
The darkness of the desert speaks to the evening even as the wine flows beyond the tables. The last year of Showest at Bally’s showed an increasing return to form after years retained of less stars returning to the confab in the desert. The companies realize that especially with the new advent of 3D, the exhibitors are essential to the formula especially with the riveting performance of “Avatar” in 3D. With its translation into Cinecon at Caesars Palace next year, the new decade will begin in earnest, hopefully with many new surprises and advances ahead.