Roman Polanski Returns to Scene of 2009 Arrest

Around this time around last year, an naive Roman Polanski travelled towards the Zurich Film Festival to get an eternity achievement award. He didn't get farther compared to airport terminal. Swiss police arrested him on the U.S. warrant from 1978, when Polanski fled the nation after pleading guilty to getting illegal sex having a 13-year-old girl. What adopted was several weeks of house arrest, a lengthy extradition fight along with a media circus. It ended, because it started, with Polanski a totally free guy.our editor recommendsRoman Polanski's 'Carnage': Exactly what the Experts SayVenice 2011: Al Pacino's 'Wilde Salome,' Roman Polanski's 'Carnage' Win Awards'Carnage' Trailer: Kate Winslet and Jodie Promote Panic in Roman Polanski's Film Adaptation (Video)The new sony Pictures Classics release a Roman Polanskis 'Carnage' Now, the Oscar-winning director is obtaining where he left off. On Tuesday, Polanski, 78, will fly to Zurich to get his award and associated adulation. The festival follows the tribute using the world premiere of the "secret" documentary. Zurich coordinators are keeping things hush-hush, however it's regarded as Marina Zenovich's follow-as much as Roman Polanski: Wanted and Preferred, the 2008 doc that reignited curiosity about his situation. PHOTOS: 'Carnage' and 9 Other Movies to understand in the Venice Film Festival There's little danger history will repeat in Zurich. A Swiss court freed Polanski on the technicality -- it stated it didn't have sufficient evidence to warrant extradition. But unless of course La County Da Steve Cooley concurs to provide private testimony about Polanski's sentencing procedure in 1977-78, that they has frequently declined to complete, the Swiss are unlikely to alter their brains. Cooley, via a speaker, rejected comment, apart from to help remind Hollywood that Polanski is really a fugitive along with a warrant remains out for his arrest. You can easily forget, before his arrest put him in the head lines, Polanski had ended up off many people's radar. His newest film at that time was 2005's Oliver Twist, a box-office flop within the U.S. ($2.a million domestic gross) that carried out better overseas but divided experts. The excitement around the Ghost Author, that they was finishing when he was arrested, was minimal. Marketers worldwide worried that news from the scandal would drive audiences away. Polanski's next project, an adaptation from the hit play God of Carnage, looked dead within the water. Such a difference 2 yrs makes: Ghost Author opened in the 2010 Berlin Worldwide Film Festival and continued to gross $60 million worldwide, and Polanski could recruit a cast which includes three Oscar those who win -- Kate Winslet, Jodie Promote and Christoph Waltz, plus John C. Reilly -- for Carnage, which opened Sept. 1 in the Venice Film Festival towards the best reviews Polanski has seen since 2002's The Pianist. Polanski's rehab started almost the moment this news of his arrest broke. As the conservative talk-show circuit was with him to become cut back towards the U.S. in chains, filmmakers were petitioning for his release. Polanski was still being under house arrest when Ghost Author won the very best director prize in Berlin. It taken the ecu Film Honours -- a obvious manifestation of solidarity one of the director's co-workers. With Carnage delighting Venice along with a planned honours campaign from The new sony Pictures Classics associated with its December U.S. release, Polanski's comeback is complete. Cooley has stated if your "cooperative jurisdiction" busts Polanski, his office might again seek extradition. But for the time being, Polanski has returned on the top. Many predicted this year's arrest means the finish of his career. 2 yrs on, the helmer returns to Zurich mind held high. POLANSKI In The BOX OFFICE: Worldwide grosses for that filmmaker's 5 best movies The Pianist (2002): $120.a million The Ghost Author (2010): $60.two million The Ninth Gate (1999): $58.4 million Oliver Twist (2005): $42.six million Rosemary oil's Baby (1968): $33.six million Related Subjects The Ghost Author Jodie Promote Kate Winslet Roman Polanski Carnage

Andy Rooney Ending Regular '60 Minutes' Segment

NEW You are able to -- After a lot more than 1000 broadcasts, Andy Rooney can make his last regular appearance about this Sunday's an hour.our editor recommends'60 Minutes' creator Don Hewitt dies Rooney is a fixture around the newsmagazine since 1978. And that he'll result in the announcement themself inside a essential show-wrapping segment. It will likely be preceded with a career retrospective interview with correspondent Morley Safer. "There's nobody like Andy there won't be," saidJeff Fager, CBS News chairman and 60 executive producer. "He'll hate hearing this, but he's a united states original. His contributions to an hour are immeasurable he's additionally a great friend." PHOTOS: Faces of Broadcast and Cable News: Physical Violence Worsens, Katie Couric and much more Rooney isn't likely to become changed. And Fager stated that Rooney is definitely welcome around the broadcast. "It's tougher for him to get it done each week,Inch stated Fager. "But he'll always be capable of speak his mind on an hour once the urge hits him." Rooney continues to be at an hour since Don Hewitt created the show in 1968 he authored and created segments for Harry Reasoner. Rooney's first essay involved the confirming of automobile deaths on 4th of This summer weekend 1978. That fall, he grew to become a normal essayist on the program. He alternated days with James J. Kilpatrick and Shana Alexander. But annually later, hegot the finish slot to themself. Rooney became a member of CBS in 1949 like a author for Arthur Godfrey's Talent Scouts as well as authored for that Garry Moore Show (1959-65) CBS News public-matters broadcasts such as the Last Century, News of America, Adventure, Calendar and also the Morning Show with Will Rogers, Junior. Related Subjects an hour

NeNe Leakes Would Absolutely Do Dwts

La, Calif. -- NeNe Leakes is wanting being the initial Real Regular folks star to strut her stuff within the Dwts ballroom. Oh absolutely! NeNe told Package Hoover when asked for about turning up round the ABC series while guest co-hosting Thursdays Access Hollywood Live. In my opinion might be good on Dwts, the Bravo star mentioned. If very little else I'd be entertaining. They wouldnt placed their eyes off me, girl! The reality star also told Package by utilizing her divorce from Gregg Leakes just days from being completed, shes searching to leap in to the dating pool which is open to marriage to again. Im almost single I will be single over the following over the following couple days. I have to be accessible dating somebody, she referred to, offering up a few of her celebrity crushes. Simon Cowell, Assault Gets worse. When Package shown NeNe an image of Access Billy Rose rose bush (who NeNe loves to flirt with) as an suitor, she shrieked with pleasure and excitement. I absolutely loved being married, she told Package. In my opinion love can be a beautiful factor. I like associations. For that needed-wrapped Season 4 in the Real Regular folks of Atlanta, NeNe mentioned there will plenty of juicy stuff to remain updated for. You understand its apt to be drama! NeNe mentioned. The whole several weeks are simply drama! Copyright 2011 by NBC Universal, Corporation. All rights reserved.These elements is probably not launched, broadcast, rewritten or redistributed.

Ashton Kutcher's 2 . 5 Males Debut Will get Idol-Like Amounts: 27.76 Million

2 . 5 Males How curious were people about Ashton Kutcher changing Charlie Sheen on 2 . 5 Males? Some 27.76 million people updated in - amounts that rival The American Idol Show. VIDEO: The 6 best jokes from Charlie Sheen's Roast Around the first official Monday from the 2011-12 TV season, the sitcom's Season 9 premiere snared a ten.3 rating among 18-to-49-year-olds - the greatest ever for that program, and most double those of Season 8's first episode. It is also probably the most-viewed scripted debut since Desperate Housewives' second season start (which came 28.36 million in September 2005). What have you think about Ashton Kutcher's 2 . 5 Males debut? Drafting behind at 9:30/8:30 on Monday, the series debut of two Broke Women was seen by 19.15 million (7. demo rating). Read our Dwts recaps The 2-hour, thirteenth season premiere from the irrepressible Dwts entertained 18.57 million (3.9 demo rating, lower 24 percent from last fall and it is cheapest-ranked start ever) - far outpacing the return from the Sing-Off, which handled to average just 5.20 million (1.9). As well as in exactly the same 8-10 p.m. time slot, the championship finale of Hell's Kitchen attracted 5.87 million (2.6). The Growing Season 9 Hell's Kitchen champion is ... Within the first hour of prime time, the growing season premiere of Generate An Income Met Your Mother drawn in 11.75 million fans (4.9 demo rating). Fall Preview: Get scoop in your favorite coming back shows In prime time's final hour, the debut of NBC's The Playboy Club unsuccessful to draw in many potential people - just 5 million along with a 1.7 demo rating. With amounts like this (worse than last year's Chase) the Club will probably be shuttered. ABC's surging Castle won the slot with 13.60 million audiences - a large jump from last year's 11.two million - and three.3 demo rating (up 22 percent), and CBS' sophomore reboot of Hawaii Five- (11.99 million/3.4) was lower 13 percent.

2 Broke Girls

Beth Behrs and Kat Dennings in "2 Broke Girls" Filmed in Los Angeles by Warner Bros. Television. Executive producers, Michael Patrick King, Whitney Cummings; producer, Tim Kaiser; director, James Burrows; writers, King, Cummings.Max Black - Kat Dennings Caroline Channing - Beth Behrs Earl - Garrett Morris Han Lee - Matthew Moy Oleg - Jonathan KiteTaking inventory of its assets and debits, "2 Broke Girls" has appealing co-stars, a quite functional premise, considerable raunch, a favorable time-slot and one inherent problem: While CBS has enjoyed solid success with its Monday comedies, programs dominated by female leads generally haven't been among them. Whether "Girls" can reverse that trend remains to be seen, and will perhaps depend in part on how handsomely the new-look "Two and a Half Men" does in sustaining an audience -- and propping up the entire night -- beyond its inevitable initial rush of curiosity. The Eye network has seemingly scored a coup by landing Kat Dennings as Max, a blunt, sexy, cash-strapped Manhattan waitress introduced putting a couple of grungy patrons in their place, telling one dude that snapping his fingers to demand service "dries up my vagina." In walks Caroline (Beth Behrs), the blond, leggy, Paris Hilton-like heiress to a fortune that has disappeared faster than you can say "Bernie Madoff." (From a programming standpoint, given the plot of "Damages" last season and a similar wrinkle in ABC's "G.C.B.," the Madoff scandal has become the narrative gift that keeps on giving.) Perky but impoverished, Caroline needs a job, which doesn't exactly provoke cartwheels from Max. Still, she takes a degree of pity on her, after grilling her about what it's like to be rich and have a pony. That the two will end up living together, "Odd Couple" style, is never in doubt. Still, producers Michael Patrick King ("Sex and the City") and Whitney Cummings (whose prospects looks considerably better here than in her new NBC sitcom) -- aided by the sure hand of pilot maestro James Burrows -- still manage to have fun getting there. "Oh my God, you were robbed!" Caroline shouts upon her first glimpse of Max's sparsely furnished apartment. Beyond the well-cast leads -- with Dennings enjoying the meatier role but Behrs holding her own -- the show distinguishes itself by being almost as dirty as "Men," albeit from a female perspective, with a lot of lascivious sighing about the chiseled abs of a guy Max is dating. There's also broad (if not especially strong) comic relief, including "Saturday Night Live" original Garrett Morris and Matthew Moy as the diner's owner. Not that naughtiness alone will be enough to secure "Girls'?" future where it counts, or by itself make the show feel like one of the boys. Still, if this promising half-hour finally comes up short on Nielsen's balance sheet, it won't be due to a deficit of energy or charm.Camera, Gary Baum; production designer, Glenda Rovello; editor, Peter Chakos; casting, Julie Ashton. 30 MIN. Contact Brian Lowry at brian.lowry@variety.com

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Drive: Cannes 2011 Review

CANNES -- A spasmodically violent, creatively cast and off-center fast-cars-and-crime drama, Drive belongs to a rarified genre subset of stripped down, semi-arty and quasi-existentialist action films that includes Point Blank, Bullitt and The Driver. With Ryan Gosling ably incarnating a pent-up man of few words who goes to great lengths to make one positive gesture in a rotten world, Danish wunderkind Nicolas Winding Refn has fashioned an atmospheric and engaging glorified potboiler that nonetheless seems powered by a half-empty creative tank. Not the sort of film normally seen in the competition at Cannes, this moody and bloody entry should be promotable to good box office results from both discerning and popcorn audiences come September.our editor recommendsCANNES 2011 Q&A: 'Drive' Director Nicolas Winding RefnRelated Topics•Cannes Film Festival Revi...•Cannes Film Festival Never speaking unless absolutely necessary, Gosling's unnamed Driver works doing movie stunts during the day and moonlights as a robbery getaway driver. The sharply executed opening sequence shows Driver's complete mastery of Los Angeles streets, as well as his grace under pressure, as he threads his way through a net of police cars and helicopters to escape from a nocturnal warehouse break-in. Drawn to an appealing neighborin his near-downtown apartment building, Irene (Carey Mulligan), Driver does more talking with his eyes than with his mouth. An initial exchange between them sums up the semi-philosophical, borderline hilarious sort of dialogue that often finds its way into this kind of fare. Irene: "Whaddya' do?" Driver: "I drive." We never learn much more about the man than that, but he quickly takes a strong interest in the welfare of this young woman, who has a cute young son (Kaden Leos) whose dad is in prison. At the same time, it appears that Driver's professional fortunes might be improving, as his longtime boss and patron, gimpy-legged auto shop owner Shannon (Bryan Cranston) makes a deal with big-bucks investor Bernie Rose (Albert Brooks) to back Driver as a stock car racer. When Irene's man, named Standard (Oscar Isaac), is released, he expresses regret over his former actions and genuine appreciation for his shot at a second chance. However, an unpaid debt, unknown links to Bernie's vulgar criminal pal Nino (Ron Perlman), a botched robbery and deeply entrenched venality on several fronts pull Driver into a treacherous underworld that ultimately requires far more of him than his driving skill. The lulls between set pieces tend to be quiet and moody, which dramatically offsets the efficiently executed car chases and the killings that mount up -- and become increasing gory -- as the bad deeds multiply. The downtime never threatens to become dull, not with this cast nor with Refn's lively style and the wildly eclectic soundtrack that's embedded in techno music but extends well beyond it. All the same, Hossein Amini's adaptation of James Sallis' short novel feels more threadbare than bracingly terse; he's clearly aspiring to the sort of spare muscularity in crime writing pioneered by Hemingway in The Killers and subsequently employed by many others. Amini simply doesn't build enough subtext and layering beneath the surface of the characters and dialogue; the tough talk is simply not loaded the way it is in the best noirs, so the lack of resonance is manifest. Possibly for the same reason, something analogous takes place visually as well. Refn, who has built himself a substantial following on the basis of such stylishly powerful works as the Pusher trilogy, Bronson and Valhalla Rising, creates a strong imprint with his vision of a dark, seamy L.A. (Newton Thomas Sigel was the resourceful cinematographer), and the violence increasingly goes beyond what you expect. But there are no sequences here that thrill or absolutely kick butt in the maximum genre way (except for the creative manner some killings are done). The good stuff here is quite good, but it doesn't reach the highest level. So it's a fun, if not exhilarating, ride, one sped along with the help of a wonderfully assembled cast. Gosling here makes a bid to enter the iconic ranks of tough, self-possessed American screen actors -- Steve McQueen, Clint Eastwood, Lee Marvin -- who express themselves through actions rather than words. Sometimes (mostly around Irene), his Driver smiles too much, but Gosling assumes just the right posture of untroubled certainty in the driving scenes and summons unsuspected reserves when called upon for very rough stuff later on. Mulligan, seen only in classy fare up to now, is a delightful choice as the sweet but bereft Irene, while Isaac invests his jailbird with unanticipated intelligence and sincerity. Christina Hendricks isn't around for long but makes a strong impression as an accomplice in an ill-advised robbery. Cranston applies craggy color to his good-guy loser, while Perlman pushes the evil all the way. Most surprising of all, however, is Brooks, who is wonderful as a rich, reasonable-sounding gent who's better than the others at hiding that he's a total s.o.b. Venue: Cannes Film Festival, Competition Sales: Sierra/Affinity Release: Sept. 16 (Film District) Production: Marc Platt Prods., OddLot Entertainment, Bold Flms Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, Oscar Isaac, Albert Brooks, Kaden Leos Director: Nicolas Winding Refn Screenwriter: Hossein Amini, based on the novel by James Sallis Producers: Marc Platt, Adam Siegel, John Palermo, Michael Litvak, Gigi Pritzker Executive producers: William Lischak, Linda McDonough, David Lancaster, Gary Michael Walters, Jeffrey Stott Director of photography: Newton Thomas Sigel Production designer: Beth Mickle Costume designer: Erin Benach Editor: Matthew Newman Music: Cliff Martinez 100 minutes Festival de Cannes Carey Mulligan Ryan Gosling Drive Cannes 2011 Cannes Film Festival Reviews

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Indomitable Ent. stamps brand inhouse

Financier-production company Indomitable Entertainment has established an inhouse branded entertainment division, to be headed by former Marvel Entertainment exec VP Russell Brown. Indomitable topper Dominic Ianno has also hired exec Erin Austin to serve as chief operating officer. Austin was previously general counsel and exec VP of business and legal affairs at Artisan Entertainment and will assume operational responsibilities for strategic and financial growth in addition to overseeing legal affairs. Additionally, former Sony Pictures development exec Mathew Guliner has been hired as VP to head business development and will be responsible for strategy, new business initiatives and structuring, managing and executing financing, distribution and corporate transactions for film, Broadway and digital media clients. Austin, Brown and Guliner will work out of Indomitable's NY office and report directly to Ianno. Ianno and partner David Tice exec produced "Soul Surfer" and Ianno was a strategic consultant on "The Whistleblower." "We view branded entertainment as a key tool for Indomitable Entertainment in the financing and marketing of the films the company is involved in," Ianno said. Indomitable's branded entertainment division will handle product placement, promotions, licensing and sponsorships. The goal is to have the coin from the marketing push help offset budget expenditures and quicken Indomitabe's return on investment. Indomitable is also working on development of action thriller "Mortis Rex" with producer Jim Jacks, writer-director Peter Briggs and visual effects company Pixumundo and has finished comedy "The Secret Lives of Dorks." Contact Dave McNary at dave.mcnary@variety.com

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