Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Hollywood’s elite mingle at glitzy post -Oscar parties

LOS ANGELES (Reuters) – Hollywood‘s elite headed into the night to celebrate or commiserate at a list of glitzy parties in Tinseltown after walking the red carpet and watching the year’s Academy Awards presented.

The party of all parties on Hollywood’s biggest night is the strictly invite-only Governors Ball, thrown by The Academy of Motion Pictures Arts and Sciences which hosts the Oscars, a lavish affair attended by about 1,500 guests.

This is the party that draws most of the stars and is the first stop for the winners with their prized, gold statuettes, as well as for other nominees who missed out this year and the performers and presenters of the three-hour Oscars show.

Winner of the Best Actor award for “Lincoln”, Daniel Day-Lewis mixed with George Clooney, who produced the Best Picture winner “Argo”, as guests sipped champagne and grazed on food by celebrity chef Wolfgang Puck.

Filmmaker Ang Lee, who won his second Best Director award for “Life of Pi”, was celebrating with fellow movie industry bigwigs in the shadows of a 120-foot chandelier sparkling in the evening’s chosen colors of aubergine, chartreuse, and champagne.

“There’s no pressure, the movie is doing well around the world, it’s all good,” he beamed.

“Life of Pi” lead actor Suraj Sharma, a newcomer from New Delhi, India, who was attending the Oscars for the first time this year, said he was “ecstatic” with Lee’s win.

“Ang worked really hard on this. I feel like Ang won, we all won,” the actor told Reuters.

As guests air-kissed and back-slapped their way around the crowded ballroom at the top level of the Hollywood & Highland complex, singers Judith Hill and Michael Feinstein were to entertain the celebrity crowd.

British actor Daniel Radcliffe, who performed his own musical number with actor Joseph Gordon-Levitt and the evening’s host Seth MacFarlane on the Oscars stage, greeted Feinstein with awe.

“This is amazing. I’ve grown up listening to you,” said the “Harry Potter” star.

Radcliffe, who made his Oscars debut this year, praised the “exemplary” way that rookie Oscar host MacFarlane handled the ceremony that is watched by up to one billion people globally.

“His level of involvement in every aspect of the show is admirable,” Radcliffe told Reuters.

MacFarlane, 39, a comedian, actor and singer who made his mark as creator of the animated TV series “Family Guy”, also won praise from other stars.

“Very good, very funny and offhand, nonchalant and Dean Martin-style,” actor John Travolta said.

The stars of “Les Miserables” swooped down on Best Supporting Actress winner Anne Hathaway as she posed with her statuette.

“I’m so thrilled. It’s so well deserved. I’m so happy for Anne,” said the director of the blockbuster musical, Tom Hooper.

Co-star Amanda Seyfried added: “I’m super, super excited but I kind of knew she was going to win.”

(Reporting by Piya Singh-Roy, Editing by Belinda Goldsmith)

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The Staple Singers’ Cleotha Staples dies at age 78

(Reuters) – Cleotha Staples, a founding member of the Rock and Roll Hall of Fame R&B and gospel group The Staple Singers, has died after a decade-long battle with Alzheimer’s disease, the group said on Friday. She was 78.

Staples, who died on Thursday at her Chicago home, is best known for singing on the group’s 1970s hits, including “I’ll Take You There,” “Respect Yourself” and “Let’s Do It Again.”

“We will keep on,” Mavis Staples, the group’s lead singer, said in a statement. “Yvonne and I will continue singing to keep our father’s legacy and our sister’s legacy alive.”

Mavis, who is known for her raspy voice that gave the group its distinct personality, said she would dedicate her forthcoming album to Cleotha’s memory.

The oldest of five children, Staples was born in Drew, Mississippi, to Roebuck “Pops” Staples and Oceola Staples. The family moved to Chicago when Staples was 2 years old in 1936, where sisters Mavis and Yvonne were born.

The Staple Singers, known as “God’s greatest hitmakers,” were formed in 1948 with Pops on guitar and siblings Mavis, Cleotha, Pervis and Yvonne singing.

The group first played churches in the Midwest and put out their first recording in 1953. Their gospel hits included “On My Way to Heaven,” “With the Circle Be Unbroken” and “Pray On.”

The family became active in the civil rights movement in 1962 after hearing Martin Luther King Jr. speak while the family was on tour. They are thought to be the first black group to cover Bob Dylan’s song “Blowin’ in the Wind” in 1963.

The Staples Singers were inducted into the Rock and Roll Hall of Fame in 1999 and were honored with a lifetime achievement Grammy in 2005.

Cleotha Staples is survived by her sisters Mavis and Yvonne and brother Pervis.

(Reporting by Eric Kelsey, editing by Jill Serjeant and Lisa Shumaker)

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It’s Indie Vets Vs. Upstarts at a Varied Independent Spirit Awards

LOS ANGELES (TheWrap.com) – After finding the Oscars encroaching on their territory for a number of years, have the Film Independent Spirit Awards finally gotten a little space from their bigger, flashier weekend neighbor?

You’d think so, given that six of the Oscars’ nine Best Picture nominees have grossed more than $ 100 million, and the roster of represented companies includes Warner Bros., Universal, 20th Century Fox, DreamWorks, Disney and Sony.

But one of those $ 100 million films, David O. Russell‘s “Silver Linings Playbook,” will be competing for five Indie Spirit Awards on Saturday, the day before it takes its eight nominations to the Oscars.

Another Oscar Best Picture nominee, Benh Zeitlin’s “Beasts of the Southern Wild,” will also be in the running for the top Spirit Award at the ceremony, which as usual takes place in a tent on Santa Monica beach.

Oscar best-pic nominee “Amour,” meanwhile, is nominated in the foreign-film category at the Spirits, while Wes Anderson‘s best-film Spirit Awards contender “Moonrise Kingdom” is up for an Oscar for its screenplay.

The Oscars are still honoring independent film, even in a year of unexpectedly big box office and surprising participation by the major studios. And the Spirit Awards’ definition of indie is still broad enough to encompass a wide range of movies, from the small-budgeted “Keep the Lights On” to the Weinstein Company release “Silver Linings Playbook,” which skirted the $ 20 million budget limit to qualify for the Spirit Awards but was let in on a judgment call by the jury assembled by Film Independent.

“The Spirit Awards are a celebration of independent film, and one of the things I love is that there’s a lot of diversity in there this year,” said Josh Welsh, co-president of Film Independent with Sean McManus.

“We have first-time directors and new filmmaking talent like Benh Zeitlin, but we also have directors that we go way back with, like Wes Anderson and David O. Russell. This year is a combination of discovery and bringing back people who are a part of what we’ve been doing for years.”

Russell first came to the Spirit Awards in 1995 with “Spanking the Monkey,” for which he won the Best First Feature award; he returned two years later as a Best Director nominee for “Flirting With Disaster.” Anderson won the Spirit Award as Best Director for “Rushmore” in 2000.

Their two films, “Silver Linings Playbook” and “Moonrise Kingdom,” lead the pack with five nominations each. “Beasts of the Southern Wild” has four – and, crucially, the Spirit Awards jury opted to nominate it and its director in the Best Feature and Best Director categories rather than putting them in the Best First Feature category, where they would almost unquestionably have won.

“Keep the Lights On” and “Middle of Nowhere” also received four nominations each, though the latter film did not crack the Best Feature category.

Despite the presence of “Bernie” and “Keep the Lights On” in the top category, this year’s awards do seem to be a shootout between “Silver Linings,” “Beasts” and “Moonrise,” perhaps with a slight edge to the first two – the first a crowd-pleasing film with real awards momentum, the second the clear indie breakout of the year.

Last year’s winner, “The Artist,” was the first film to win both the Spirit Award and the Best Picture Oscar.

Of the 21 Spirit acting nominees, the only ones to also be in the running at the Oscars are Bradley Cooper and Jennifer Lawrence from “Silver Linings,” Quvenzhane Wallis from “Beasts” and Helen Hunt from “The Sessions.” Chances are that Cooper and Lawrence have the edge, with more than 80 percent of Spirit Awards winners since 2000 coming from the ranks of Oscar nominees.

The awards are voted on by the 4,000 members of Film Independent, which is made up of professionals in the indie world but also of film fans who pay the yearly dues. Voting is done online, and Film Independent holds free member screenings in Los Angeles and New York to allow voters to see the films.

MacManus told TheWrap that Film Independent also made a deal with iTunes this year to make some of the nominated films available online, while members also received a 14-film DVD collection containing all the nominees that had chosen to participate. (Members had to sign restrictive use agreements to receive the package, added Welsh.)

This year’s show will be hosted by comic and actor Andy Samberg, whose film “Celeste and Jesse Forever” is in the running in the Best First Screenplay category.

“He brings a very new vibe and personality to the show,” MacManus said. “We wanted to look at this year’s show with fresh eyes. There’s a new look to the room, we’re doing something different with the food – everything is a new take.”

Last year’s host was Seth Rogen, who took the stage and immediately labeled the show “inconsequential.”

“Winning one will get you absolutely nothing,” he said, drawing a big laugh. “It won’t even raise your price, because it proves that you’ll work for nothing.”

If Samberg takes similar shots at the show, both MacManus and Welsh said they won’t mind.

“The awards are incredibly meaningful,” MacManus said. “We believe in independent film and we take it seriously, but we don’t take ourselves seriously. We are okay with poking fun at ourselves.”

Added Welsh, “We’re not all puffed up or self-important. But all joking aside, these awards are significant. It’s a genuine act of honoring the independent film of the last 12 months.”

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Actresses walking Oscar’s red carpet to exude sophistication, not sex

LOS ANGELES (Reuters) – When actresses sashay down the red carpet before the Oscars ceremony on Sunday, they are expected to be wearing gowns exuding glamour and sophistication, not flesh-exposing jaw-droppers.

Performers at this month’s Grammys were issued a “wardrobe advisory” ahead of the big music awards show, telling them to cover up and keep buttocks, nipples and genitals under wraps. The advisory appeared to work, as no one bared too much skin.

But fashion experts do not expect guests at the 85th Academy Awards at the Dolby Theater in Los Angeles on Sunday night to shock, instead forecasting original fashions inspired by last month’s Paris haute couture week where made-to-order gowns worth tens of thousands of dollars are hand-crafted.

Top designers are keen to dress the hottest Hollywood stars, loaning them creations and jewelry for the awards ceremony that is watched by an estimated one billion people worldwide, with many as interested in the fashions as the films.

The importance of looking good on the film industry’s biggest night is critical for up-and-coming actresses wanting to be noticed and for designers and cosmetic and jewelry companies seeking global recognition and the next big contract.

The Academy of Motion Picture Arts and Sciences, which hands out the Oscars, says on its award show tickets that attire for the event is “formal.” An Academy spokeswoman declined to elaborate on whether more detailed advisories are given to nominees and presenters, saying only that “the Oscars and the Governors Ball are black-tie events.”

With the red carpet televised live, there is no room for wardrobe malfunctions. And attendees know that the critics are ready to pounce on anyone whose frock does not live up to the event.

LEGBOMBING

Designer Marc Bouwer, who is dressing three Oscar attendees this year, called the Oscars red carpet “the greatest, biggest runway show on earth,” pointing out that the right outfit can take someone’s career “from zero to a hundred.”

Bouwer would know. His creations are regularly featured on best-dressed lists, with the white satin gown worn by Angelina Jolie wowing the audience at the 2004 Oscars.

Jolie is a pro of the red carpet. She again stole the spotlight last year when she thrust her right leg out of her high-slit Versace dress, setting off a global copying craze and leading to the adoption of a new word, “legbombing.” Her right leg even got its own Twitter account.

The value of red carpet exposure is hard to pinpoint, but a vintage Christian Dior dress worn by actress Natalie Portman at the 84th Academy Awards later sold for $ 50,000.

The photographs of the actress who takes home the Best Actress statuette becomes part of Oscar lore.

It’s a night when images of beautiful women in spectacular gowns become Hollywood history, such as pictures of Grace Kelly in a blue satin gown by Edith Head in 1955, Julia Roberts in a black vintage Valentino in 2001, and Halle Berry in an Elie Saab gown with a sheer upper bodice and burgundy satin bottom in 2002.

One actress in the spotlight this year is 22-year-old Jennifer Lawrence, who is a favorite for the Best Actress award for her role in the quirky romance “Silver Linings Playbook.”

Lawrence has built a relationship with Christian Dior’s creative director, Belgian fashion designer Raf Simons, and wore Dior gowns to the recent Golden Globes, Screen Actors Guild Awards and the BAFTA awards in London.

It remains to be seen if she will don Dior for the Oscars, but style expert Sam Saboura, a fashion host on the cable channel TLC, said he expected the copious amounts of black and white used by Dior and Chanel in Paris last month to appear at the Oscars.

He said the full skirts used by Dior in Paris are also likely to influence gowns on Oscar night, while spring and fall colors like cobalt blue, poppy red and yellow, as seen at the Golden Globes, could emerge.

“The Oscars carpet is the grand dame of all red carpets,” Saboura told Reuters. “It’s a world stage and what’s worn on that night will set the tone and trend of what everyone else will be wearing … and other designers will follow suit.”

Bouwer expects prints to make a big return to the red carpet as designers use computer software like photoshopping and art applications to add prints easily.

“Prints have been on day dresses for years, but now it’s moving into haute couture and ballgowns,” Bouwer told Reuters. “It’s something different. It’s pushing the envelope and there’s no reason it shouldn’t be on an evening gown.”

No matter what color, pattern or designer is chosen for the Oscar red carpet, hair stylist Jose Eber said the underlying theme will be, as always, a celebration of the golden years of Hollywood and a bygone era of timeless elegance.

“Every nominee and presenter gets inspired by that era, and you will see them paying homage to stars like Rita Hayworth, Veronica Lake, Audrey Hepburn and others,” Eber told Reuters. “But they will all have their own new twist” on elegance.

(Editing by Belinda Goldsmith and Philip Barbara)

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Oscars in Hollywood cliffhanger over Best Picture, Director

LOS ANGELES (Reuters) – Sunday’s Oscar ceremony is set for a cliffhanger ending after a topsy-turvy awards season that has left the two top prizes – Best Picture and Best Director – too close to call.

With just days to go before the movie industry’s highest honors are handed out on February 24, awards watchers are keyed up for one of the most exciting nights in recent Academy Awards history.

Despite entering the Oscar race with a leading 12 nominations in January, the front-runner Best Picture status of Steven Spielberg‘s presidential drama “Lincoln” has been undermined by a slew of awards picked up Ben Affleck‘s Iran hostage thriller “Argo.”

But an “Argo” win despite Affleck’s omission from the Best Director shortlist would defy the conventional wisdom that says the Oscar for Best Film usually brings a trophy for its director.

“Argo” would be the first movie to take home the statuette for Best Picture without its director winning even a nomination since “Driving Miss Daisy” in 1990.

“Everything is kind of haywire, so those of us in the (awards prediction) business are all left scratching our heads and saying what does it mean?” said Matt Atchity, editor in chief of movie review website Rotten Tomatoes.

After beating “Lincoln” at the Golden Globes, Screen Actors Guild, directors, producers and writers guilds, “Argo” now has the edge in the Best Picture race.

“Even if ‘Argo’ wins for Best Picture, which is kind of a foregone conclusion at this point, it still feels exciting because ‘Argo’ has managed to keep this underdog status even though it has been winning every award,” Dave Karger, chief correspondent for Fandango.com told Reuters.

“If ‘Lincoln’ wins, ironically it will be considered an upset even though it has the most nominations. That’s what’s strange about this year – all the rules seems to be turned on their heads,” Karger added.

A Reuters/Ipsos poll released on Wednesday underlined the stiff competition. Some 17 percent of the 1,443 people questioned in the United States between February 15 and 19 thought that “Lincoln” was most likely to win Best Picture, but the same percentage gave their backing to musical “Les Miserables.”

“Argo” was thought most likely to take home the Oscar by 8 percent of those questioned, while “Django Unchained” and “Life of Pi” tied with 4 percent. Some 41 percent of those asked in the Reuters/Ipsos poll were unsure which movie would win on Sunday.

JOCKEYING FOR POSITION FOR MONTHS

Unlike last year when silent film “The Artist” had the race sewn up weeks ahead of the Academy Awards ceremony, four films have moved in and out of the front position six times since September, according to movie pundits at Goldderby.com.

They include quirky comedy “Silver Linings Playbook” which won the top prize at the Toronto film festival, and “Les Miserables” the screen version of hit French Revolutionary stage show which has a strong fan following but which got mixed reviews.

“The fact the front-runner has changed so many times has made it exasperating, but almost more fun,” said Karger.

“Argo” is thought to have come through less because of a sympathy vote for the snub to Affleck and more because of its deft blend of thriller with a satire on Hollywood movie making. The movie is based on the true story of the CIA rescue from Islamic revolutionary Tehran of six U.S. diplomats who pretended to be producing a fake film.

“I think people genuinely love that movie and it’s very inclusive to the Hollywood professionals who are voting on these awards. It allows people in Hollywood to say, we helped get those hostages out, and there is an appeal there,” Atchity said.

“The critical reaction to ‘Lincoln’ tended to be that it was a very educational and really impressive film but it didn’t grab you emotionally the way some of the other nominees did.”

Directors Tom Hooper (“Les Miserables”), Kathryn Bigelow (“Zero Dark Thirty”) and Quentin Tarantino (“Django Unchained”) were also left off the Oscars short-list although their movies earned nominations.

That leaves Spielberg as presumed favorite for a third Best Director Oscar after victories with 1990s films “Schindler’s List” and “Saving Private Ryan.”

But don’t count out David O. Russell for “Silver Linings Playbook,” and Ang Lee, the self-effacing Taiwanese director who brought Yann Martel’s mythological shipwreck survival novel “Life of Pi” to the big screen.

“No one thought that book was filmable, and yet Ang Lee was able to pull it off. When you think this was the same man that made ‘Brokeback Mountain,’ ‘Crouching Tiger, Hidden Dragon’ and ‘Sense and Sensibility,’ he is so versatile it’s astonishing,” said Karger.

“Lincoln” is distributed by Walt Disney Co. and 20th Century Fox, a unit of News Corp; “Argo” is distributed by Warner Bros., a unit of Time Warner; “Les Miserables” is distributed by Universal Pictures, a unit of Comcast Corp; “Life of Pi” is distributed by 20th Century Fox; “Zero Dark Thirty” is released by Sony Corp’s movie studio arm; “Silver Linings Playbook” and “Django Unchained” are distributed by privately held Weinstein Co.

(Editing by Mohammad Zargham)

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Daniel Day-Lewis as Abe Lincoln makes unstoppable Oscar force

LOS ANGELES (Reuters) – If there is one sure bet in this roller coaster movie awards season, it is that Daniel Day-Lewis will take home the Best Actor statuette at the Oscars on Sunday.

Day-Lewis, known for his meticulous preparation, would become the first man to win three Best Actor Oscars, and awards pundits say it’s not hard to see why.

The tall, intellectual actor has swept every prize in the long Hollywood awards calendar for his thoughtful, intense portrayal of U.S. President Abraham Lincoln in Steven Spielberg‘s movie “Lincoln.”

“No-one has emerged to take him on. I don’t think he has lost a single (pre-Oscar) race. We have 25 experts and every single one is betting on Daniel Day-Lewis,” said Tom O’Neil of awards website Goldderby.com.

More surprising perhaps is that Day-Lewis will also be the first person to win an Oscar for playing a U.S. president. And it has taken a Briton with dual Irish citizenship, portraying one of America’s most revered leaders, to do it.

Although “Lincoln” started the Oscar race with a leading 12 nominations, its Best Picture front-runner status has dimmed in recent weeks with the ascendance of Iran hostage drama “Argo.”

But Day-Lewis’s star has only risen with Golden Globe, Screen Actors Guild and British BAFTA trophies, along with a slew of honors from film critics.

LINCOLN FOR A NEW GENERATION

Day-Lewis, 55, plays Lincoln in the last few months of a life cut short by his 1865 assassination in a film that focuses on the president’s personal commitment to abolish slavery and end the bloody four-year U.S. Civil War.

He’s not the first actor to play Lincoln on screen. Yet his quiet assurance, his adoption of a high-pitch voice rather than the booming tones associated with Lincoln, and the movie’s focus on complex political debates have shone new light on a man that many Americans thought they already knew well.

“It’s a performance that is subtle. It’s not the Lincoln you expect. It’s a different interpretation of Lincoln than we have seen and we feel, wow! This could be the way Lincoln was,” said Pete Hammond, awards columnist at Deadline.com.

“We are seeing a real human being played out here for the first time and that is extraordinary. Day-Lewis is bringing the character to life in a way we haven’t seen in years,” Hammond told Reuters.

It took Spielberg three attempts to convince Day-Lewis to play the role. Explaining his decision last month to take the part, Day-Lewis noted that “it was an actor that murdered Abraham Lincoln. Therefore, somehow it’s only fitting that every now and then, an actor tries to bring him back to life again.”

The London-born actor threw himself into the role with the same devotion that marked his Best Actor Oscar-winning performance as quadriplegic Irish writer Christy Brown in “My Left Foot” in 1989, when he spent weeks living in a wheelchair.

In “Gangs of New York,” he sharpened knives on sets between takes to capture the menace of Bill “The Butcher” Cutting, earning another Oscar nomination, and in 2008 he won his second Best Actor Award at the Oscars for his turn as a greedy oil baron in “There Will Be Blood.”

TEXTING LIKE LINCOLN

Sally Field, who plays his screen wife Mary Todd Lincoln, said Day-Lewis sent her text messages that were completely in character and in 19th century vernacular over a seven-month period prior to shooting “Lincoln.”

Joseph Gordon-Levitt who plays Lincoln’s son Robert, said he didn’t get to know Day-Lewis until after production wrapped.

“I never met Daniel in person,” Gordon-Levitt told reporters. “I only ever met the president, only ever heard the president’s voice. I called him sir, and he called me Robert.”

With four Academy Award nominations and two wins before “Lincoln,” Day-Lewis appears to have barely set a foot wrong in his 30-year career. Yet there have been missteps, including the box-office flop of star-laden musical “Nine” in 2009.

“He was sorely miscast as Guido, the adorable gigolo, and he was not convincing at all. He brought the whole film down,” recalled O’Neil. “‘Lincoln’ is a spectacular career rally for him after that disaster.”

While others are betting on Day-Lewis to take home a third Academy Award on Sunday, the actor has been modest about his chances.

“Members of the Academy love surprises, so about the worst thing that can happen to you is if you’ve built up an expectation. I think they’d probably be delighted if it was anybody else,” he told reporters after winning the Screen Actors Guild trophy in January.

Those “anybody elses” in the running are Bradley Cooper for “Silver Linings Playbook,” Denzel Washington’s alcoholic pilot in “Flight,” Joaquin Phoenix for “The Master” and Hugh Jackman in musical “Le Miserables.”

(Reporting By Jill Serjeant; Editing by Todd Eastham)

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Hollywood actors face new worry as reality commercials rise

LOS ANGELES (Reuters) – For a recent TV commercial, H&R Block’s advertising agency passed on using actors and instead chose Riley Holmes, who works at the tax preparer’s Chicago office, to pitch the company’s free “second look service” that claims it can find new deductions from prior returns.

“People bring in old tax returns and I’m like, ‘Who did this to you?’” says Holmes in the 30-second TV commercial.

With hit reality shows luring viewers to just about every channel, H&R Block is among a growing number of companies, including Bayer, Best Buy Co Inc and Ford Motor Co, which are jumping on the trend and casting their own “real housewives” and other folks who don’t act for a living in spots.

Advertisers’ growing use of “real” folks in commercials is among a growing list of challenges facing actors as the union representing 165,000 actors and media professionals, begins bargaining on Thursday on a new three-year-contract. Industry negotiators are expected to resist efforts to raise actors’ rates for the increasing number of commercials that appear online.

“People want the real cancer survivor, the real doctor, real fire eater,” said Carol Lynn Sher, who works for the CESD Talent Agency in Los Angeles. “Fewer actors being used for those roles and its taking away jobs.”

Many already chafe as they watch a growing number of A-List actors – Robin Williams in a Snickers bar commercial or Sofia Vergara for Pepsi – take jobs that used to go to them.

“My 13-year-old daughter Francesca has been auditioning for commercials for five years, and it’s harder than ever because now they want kids to be real ballerinas, real violinists or real gymnasts,” said Toni Farina, mother of a Los Angeles-based young actress.

The issue of real life people taking actors jobs isn’t likely to be formally addressed in the Screen Actors Guild (SAG) and American Federation of Television and Radio Artists (AFTRA) advertising negotiations.

Those talks, the first since the two guilds merged, will be focused mostly on higher pay for ads shown online and larger contributions to the union’s health and pension funds.

SAG-AFTRA declined to comment on the negotiations.

Still, the trickle of real folks in commercials has intensified, since actors signed their last contract in 2009.

In better days, actors used to get as much as $ 50,000 in residuals for a commercial that played nationally for a year, said Mike Abrams, partner with AKA Talent Agency in Los Angeles.

The appeal – not to mention price tag – of some actors are driving ad agencies elsewhere, especially as reality stars like Bethenny Frankel from “The Real Housewives of New York City” or “Jersey Shore” star Nicole Elizabeth “Snooki” Polizzi start showing up on magazine covers and hawking products.

Walt Disney Co’s ESPN went even one step further and searched for real “dead” people for a campaign last summer of 15 to 30 second commercials titled, “It’s Not Crazy, It’s Sports” featuring real-life stories about fans who took their love of their sports teams with them to the grave.

“We did a nationwide search of funeral parlors for sports fan stories and how people took their love of their teams to the grave with them,” said Dan Bell, a Los Angeles casting director who specializes in real people casting.

Chuck Kaczorowski, chairman of Kaczorowski Funeral Home in Dundalk, Maryland, was among the stars in the ad campaign, in which he talks about a Baltimore Orioles casket his funeral home offers.

Many companies now even want “real life” couples and families to make their ads authentic, said Bell. The downside is that sometimes they clam up. Other times, they catch the acting bug, and start performing for the cameras.

Bell said he also helped find a real mother and her special needs child for a Mass Mutual ad that aired last summer as part of its campaign to drive awareness of challenges facing families with children with special needs.

As negotiators for actors and advertisers gather around the table for talks, LA actors likely have their attentions divided.

“I don’t think anyone’s worried about a strike at this point, but they are worried about this trend to more reality commercials,” said Sher, the talent agent from CESD, which is a major talent agency for young television and commercial actors.

(Reporting By Susan Zeidler and Frank Simons in Los Angeles; Editing by Lisa Shumaker)

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Romanian film “Child’s Pose” wins Berlin Golden Bear

BERLIN (Reuters) – “Child’s Pose”, a Romanian drama about a domineering mother using her social position to try to save her son from jail, won the Golden Bear for best picture at the Berlin film festival on Saturday.

The movie, directed by Calin Peter Netzer and starring Luminita Gheorghiu in the central role, had been among the favorites for the coveted prize, which extends the remarkable success of Romanian filmmakers on the European festival circuit.

The awards ceremony brought to a close the 11-day cinema showcase, where hundreds of movies were screened across Berlin and stars including Matt Damon, Nicolas Cage, Anne Hathaway, Jude Law and Catherine Deneuve walked the red carpet.

In “Child’s Pose”, Gheorghiu shines as the wealthy 60-year-old Cornelia, who attempts to buy off the poor family of a boy killed by her son in a road accident.

The veteran actress also appeared in Cristian Mungiu’s “4 Months, 3 Weeks and 2 Days”, a grisly abortion drama that put Romanian cinema firmly on the international map when it won the Palme d’Or at the Cannes film festival in 2007.

“I’m still shell-shocked,” Netzer told reporters after the ceremony. “I haven’t quite woken up to this new reality. It will probably take a couple of days for it to sink in.”

The big surprise on the night was the best actor award for Nazif Mujic, a Bosnian Roma who had to be convinced to play himself in “An Episode in the Life of an Iron Picker” about his own experiences on the fringes of society.

The movie, a docu-drama directed by Danis Tanovic and made for 30,000 euros ($ 40,100), captured hearts in Berlin for its straightforward storytelling and moving account of the impoverished Mujic’s desperate attempts to pay for his wife’s emergency operation.

“FEELS LIKE NEIL ARMSTRONG”

Tanovic, an Oscar winner for his 2001 war movie “No Man’s Land”, read about the story in a local newspaper in 2011 and was so angry at Bosnian society’s apparent lack of humanity that he determined to make a film about it.

“I think he (Mujic) feels like Neil Armstrong when he went to the moon, seriously,” Tanovic said of his star. “And I really do hope it is going to change his life for the better.”

Arguably the most popular winner at the 63rd Berlin film festival was Paulina Garcia, the Chilean actress whose portrayal in “Gloria” of a 58-year-old divorcee in Santiago was the highlight for many festival-goers and won her best actress.

Refusing to retire quietly into the background, Gloria drinks, smokes, parties and enjoys sex, all the while holding down a full time job and keeping in touch with her children.

The powerful older woman was a constant theme throughout the main competition of 19 films eligible for prizes, and Garcia was up against Gheorghiu and French actresses Catherine Deneuve and Juliette Binoche for the acting Silver Bear.

Best director went to U.S. filmmaker David Gordon Green for his touching road movie “Prince Avalanche”, in which Paul Rudd and Emile Hirsch play a pair of misfits who go to work in a remote forest where they embark on a journey of self-discovery.

Iranian entry “Closed Curtain” picked up the best script prize for directors Kamboziya Partovi and Jafar Panahi. Panahi made the movie in secret in defiance of a 20-year filmmaking ban and was not allowed to travel to Berlin to collect his award.

“Tradition and culture remain, politicians come and go,” Partovi told reporters after receiving the honor.

Kazakh cinematographer Aziz Zhambakiyev was honored for outstanding artistic achievement for his painterly work on “Harmony Lessons”, set on the harsh steppes of Kazakhstan.

($ 1 = 0.7490 euros)

(Reporting by Mike Collett-White, editing by Paul Casciato)

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Don Johnson gets $19 million in “Nash Bridges” lawsuit

NEW YORK (TheWrap.com) – Don Johnson has ended his lawsuit against the company that co-produced his series “Nash Bridges” after it paid him $ 19 million.

In 2010, Rysher Productions was ordered to pay Johnson $ 23 million in profits for the show and interest. Rysher was also ordered to pay an additional $ 28.5 million in interest.

But Rysher appealed, alleging jury misconduct and that the amount of interest to which Johnson was entitled was calculated incorrectly. Jurors had initially decided to award Johnson $ 15 million before deciding, through their calculations, that he was entitled to far more.

Last year, the California Court of Appeal agreed with Rysher, saying Johnson should receive just $ 15 million, plus interest as of July 2010, when the verdict was handed down. The larger dollar amount factored in interest that would have started accruing years before the verdict.

In January, Rysher paid Johnson $ 19 million, and he signed a document bringing the dispute to a close. The court records disclosing the payment were first discovered by The Hollywood Reporter.

“Nash Bridges” aired on CBS from 1996 to 2001.

(Pamela Chelin contributed to this story)

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Michael Costigan Lands two-Year, First-Look Deal at Sony Pictures

LOS ANGELES (TheWrap.com) – Sony Pictures Entertainment said Tuesday that it has entered into a two-year, exclusive first-look agreement with producer Michael Costigan and his company COTA Films.

The deal reunites Costigan with Sony Pictures, where he previously worked for nine years and served as a production executive. Costigan then served as president of Ridley and Tony Scott‘s Scott Free Productions from 2005 until 2012.

Doug Belgrad, president of Columbia Pictures, and Hannah Minghella, president of production for the studio, made the announcement jointly.

“We couldn’t be more excited to be back in business with Michael,” they said in a statement. “He has a great eye for material, strong director and talent relationships and has been making interesting, original movies during his years with Scott Free. Of course he remains a great friend and we’re thrilled to be professionally reunited.”

Costigan most recently produced “Stoker,” Park Chan Wook’s English-language debut starring Mia Wasikowska, Nicole Kidman and Matthew Goode, and “The East,” starring Brit Marling, Ellen Page and Alexander Skarsgard, and directed by Spirit Award nominee Zal Batmanglij. Both films premiered last week at Sundance to positive reviews and will be released later this spring.

Costigan also produced “Out of the Furnace,” directed by Scott Cooper (“Crazy Heart”) and starring Christian Bale, Casey Affleck and Woody Harrelson.

As executive vice president of production at Sony, he acquired and developed films including “Charlie’s Angels,” “Gattaca,” “The People Versus Larry Flynt,” “Girl Interrupted” and “Bottle Rocket.”

Under the Scott Free banner, Costigan executive produced “Prometheus,” “The Counselor,” “Robin Hood,” “Body of Lies,” and “American Gangster.” He also produced Mark and Jay Duplass’ “Cyrus” and “Welcome to the Rileys.”

Before joining Scott Free, Costigan executive produced Ang Lee’s “Brokeback Mountain.”

Joining Costigan is Ben Leclair, who most recently produced the “Upstream Color,” directed by Shane Carruth, which premiered at Sundance. He previously worked as VP, production for Mike White at Ripcord, where he was a producer of “Year of the Dog” and oversaw Jared Hess’ “Gentlemen Broncos.”

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NBCU’s Bonnie Hammer to run Cable; Joe Uva to run Telemundo

LOS ANGELES (TheWrap.com) – NBC Universal‘s executive lineup underwent a shift of responsibilities on Monday, with Bonnie Hammer, NBCU‘s chairman of cable entertainment and cable studios, taking control of NBC Universal’s full cable portfolio, and executive Lauren Zalaznick being promoted to a new role, and former Univision president and CEO Joe Uva taking over NBCU’s Spanish-language network Telemundo.

Under her new expanded duties, Hammer (pictured) will oversee Bravo, Oxygen, Style, Sprout and TV One adding to her existing duties of overseeing USA Network, SyFy, E!, G4, Cloo, Chiller and other properties. The newly consolidated collection of networks will be renamed Cable Entertainment Group.

Zalaznick, who has been serving as chairman of NBC Universal Entertainment & Digital Networks and Integrated media, has been promoted to the new position of EVP NBCUniversal, where she’ll focus on “innovation, digital, monetization and emerging technology across the company,” NBC Universal CEO Steve Burke told employees in an internal email.

Uva, meanwhile, has been tapped for the newly created position of NBCU’s chairman of Hispanic Enterprises and Content, a position that will include running the company’s Spanish language networks Telemundo and mun2. Uva stepped down as president and CEO of Univsion in June 2011.

Hammer and Zalaznick will assume their new responsibilities immediately, while Uva will come aboard April 3.

Burke, who’s enacted similar restructurings for NBCU’s sports and news divisions, said that the restructuring will help streamline things while allowing for better exploitation of the company’s assets.

“Our business is more dynamic and challenging than at any point in its history,” Burke wrote in a memo to his staff. “Now, more than ever, we need to simplify our organization and take advantage of the breadth of our assets. At the same time, we need to focus more on innovation and emerging technologies. These organization changes are designed to do just that,” Burke wrote.

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Bolshoi ballet chief heads to Germany after attack

MOSCOW (AP) — The artistic director of the Bolshoi ballet said he knows who ordered an acid attack that left him with severe burns to his eyes and face but won’t say, voicing hope that investigators will soon name the perpetrator.

Sergei Filin checked out of a Moscow hospital Monday and headed to Germany for further rehabilitation.

Filin, 42, wore shades and a bandage on his head, and skin on his face was red and swollen from burns. But he spoke energetically and seemed to be in a good mood as he walked out of the hospital accompanied by his wife.

“My body is full of strength and energy,” he told reporters.

Filin earlier told Russian state television that he knew who ordered the attack but wouldn’t give names. “My heart tells me who did it,” Filin told Rossiya 24 television in an interview broadcast late Sunday.

He said that investigators would visit him in Germany as part of the continuing probe.

An attacker threw sulphuric acid in Filin’s face in Moscow on Jan. 17, as he was returning home from work.

“I felt enormous, unbearable pain,” Filin recalled in the television interview. “I fell face down in the snow and started rubbing my face and eyes with snow.”

His colleagues said the attack on Filin could be in retaliation for his selection of certain dancers over others for the prized roles.

The Bolshoi has been plagued by intrigue and infighting that have led to the departure of several artistic directors over the past few years.

Filin told reporters Monday as he was leaving the hospital that he’s still seeing as if through a mist as his eye treatment is continuing, and added that he will have to undergo further eye surgery in Germany.

“I don’t care about my face, my hair, my looks,” he said in the television interview. “I’m ready to be completely bald, look like a Frankenstein. It will have no impact on my heart, on my soul. All my inner self, all my energy is focused on recovering eyesight.”

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NBC News President Capus to leave network

(Reuters) – NBC News President Steve Capus will be leaving the network in the coming weeks after struggles at the unit, including lower ratings for its flagship morning TV show, “Today.”

No replacement has been named for Capus, president of NBC News since 2005, according to a company memo obtained by Reuters. In a statement, Capus said it was “now time to head in a new direction.”

Three sources close to NBC said his departure had been rumored around the halls after parent Comcast Corp reorganized the news division in July, bringing in Patricia Fili-Krushel to head the news unit’s business operations. After that change, these sources said, Capus’ departure became a matter of when, not if.

Prior to Comcast’s takeover, the three heads of NBC‘s news operations — Mark Hoffman at CNBC, Phil Griffin at MSNBC and Capus — all reported directly to Jeff Zucker, who was not only NBC’s chief executive but also well-versed in hard news.

“There was a natural flow to the news division under Zucker. They all spoke the same language,” said one of these sources. “No disrespect to Pat, but she’s not viewed as a news person.”

Indeed, both Capus and Zucker basically grew up with each other at NBC, spending about 20 years together at the network. Capus did not say what his next move would be. Zucker, the executive who promoted him seven years ago at NBC, is now the worldwide president of CNN, owned by Time Warner Inc.

The sources said it would not be a surprise if Capus eventually resurfaced in a new position under Zucker at CNN. Earlier this week, Mark Whitaker, the managing editor at CNN, announced his resignation to make room for Zucker to install his own team. Prior to his joining CNN, Whitaker worked at NBC News under both Capus and Zucker.

Fili-Krushel said in a memo to staff on Friday that until a replacement for Capus is found, NBC News will operate under an interim structure with various executives reporting to her. She will start the search for a successor in coming weeks, with Capus helping with the transition.

Two other sources said that the recent view internally has been that Antoine Sanfuentes, an executive who oversees NBC News‘ Washington bureau and the Sunday political talk program “Meet the Press,” was being groomed to replace Capus. Fili-Krushel said in her memo that Sanfuentes will report to her and serve as interim managing editor responsible for editorial decision-making.

The first three sources said they had expected Capus to announce his departure at the end of last year to coincide with the announcement that Jim Bell was leaving as executive producer of the “Today” show to assume the newly created role of full-time executive producer of the Olympics.

Ultimately, Capus decided to trigger his departure by exercising an “out” clause built into his most recent contract, according to one of the first three sources.

Capus commanded the loyalty of NBC News staff, particularly the on-air talent and producers, all of the five sources agreed. Some of the major news events he worked on included the September 11 attacks, the discovery of anthrax in the NBC newsroom, the death of Britain’s Princess Diana and the wars in Iraq and Afghanistan. His resignation came as an unexpected blow to NBC News staff, despite the apparent grooming of Sanfuentes.

Savannah Guthrie, installed by Capus as “Today” show host after the departure of Ann Curry, tweeted on Friday that Capus was “a great leader and tireless advocate for NBC News” who will be missed.

NBC News made deep job cuts in 2006 after wider layoffs at the parent company. Rivals ABC News and CBS News have also made hundreds of layoffs in the past few years.

Capus said in his memo that he “tried to shield journalists from the tough economic pressures hoping that would give each of you the running room to focus solely on a commitment to outstanding journalism.”

RECENT STRUGGLES

NBC News has been the one part of the network’s news operations to show slippage in the last year. CNBC is far and away the leading business news network, as measured in ratings. MSNBC has not only surpassed CNN to become a strong No. 2 among general cable news networks, but has also closed the gap with long-time leader Fox News, owned by News Corp.

“Pat Fili-Krushel has a strong vision of the integration that is required to make the full array of NBC programming fire on all cylinders in unison. She also understands the need to complement both the owned station and Comcast cable group goals to leverage all to best advantage,” said Magid & Associates consultant Steve Ridge.

NBC News has ranked as the leader among network news broadcasts in both the morning and evening for much of Capus’ eight-year run as president. Two of the first three sources said he deserves credit for maintaining the “Today” show as the dominant morning news program, “NBC Nightly News” as the leading evening news broadcast, and “Meet the Press” as the marquee Sunday news program. But over the last year, Capus’ fiefdom has taken a few hits, most notably at the “Today” show.

NBC News, for example, was criticized for ousting Ann Curry as “Today” co-host after only one year.

The “Today” show has been in a back-and-forth ratings war with ABC’s “Good Morning America” ever since ABC snapped NBC’s 16-year unbeaten streak last year. “NBC Nightly News” is averaging 8.76 million total viewers, ahead of “ABC World News” and “CBS Evening News.” It has seen less ratings success with the news magazine “Rock Center with Brian Williams,” which debuted in 2011 and after being bounced around the schedule, will move to Friday nights on Feb 8.

NBC News also came under fire last spring when it decided to edit a call to police from George Zimmerman, the Florida man who shot unarmed teenager Trayvon Martin. The editing made it appear that Zimmerman told police, without being prompted, that Martin was black when, in fact, the full tape revealed that the neighborhood watch captain did so only when responding to a question posed by a dispatcher.

NBC has since been sued for defamation by Zimmerman.

(Additional reporting by Mark Hosenball in Washington; Editing by Lisa Von Ahn, Andrew Hay and Matthew Lewis)

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Washington wins 3 trophies at NAACP Image Awards

LOS ANGELES (AP) — Kerry Washington was a triple threat at the NAACP Image Awards.

The star of ABC’s “Scandal” picked up a trio of trophies at the 44th annual ceremony: outstanding actress in a drama series for “Scandal,” supporting actress in a motion picture for “Django Unchained” and the President’s Award, which is given in recognition of special achievement and exceptional public service.

“This award does not belong to me,” said Washington, who plays a slave separated from her husband in “Django Unchained,” as she picked up her first trophy of the evening for her role in the film directed by Quentin Tarantino. “It belongs to our ancestors. We shot this film on a slave plantation, and they were with us along every step of the way.”

Washington, who plays crisis management consultant Olivia Pope on “Scandal,” serves on President Barack Obama‘s Committee on the Arts and the Humanities.

Don Cheedle was awarded the outstanding actor in a comedy series trophy for his role as a slick management consultant in Showtime’s “House of Lies.”

“This doesn’t belong just to me, but I am taking it home tonight,” joked Cheedle.

A few winners weren’t present at the Shrine Auditorium to pick up their trophies, including Denzel Washington for outstanding actor in a motion picture for “Flight,” Viola Davis for outstanding actress in a motion picture for “Won’t Back Down” and Omar Epps for supporting actor in a drama series for Fox’s “House.”

“Red Tails,” the drama about the Tuskegee Airmen, was honored as outstanding motion picture.

“Look! I beat Quentin Tarantino,” beamed “Red Tails” executive producer George Lucas as he accepted the award.

LL Cool J, who was honored as outstanding actor in a drama series for CBS’ “NCIS: Los Angeles,” dedicated his trophy to fellow nominee Michael Clarke Duncan, “The Green Mile” and “The Finder” actor who died last year.

“I wish his family well,” said LL. “Let’s give it up for him.”

Gladys Knight sang during the in memoriam segment, but the beginning of her performance wasn’t heard on the live NBC broadcast because of a technical glitch.

Sidney Poitier presented Harry Belafonte with the Spingarn Award, which honors outstanding achievement by an African American. His honor was followed by a serenade from Wyclef Jean and Common.

Other winners at the ceremony hosted by talk show host Steve Harvey included Loretta Devine as supporting actress in a drama series for “Grey’s Anatomy,” Cassi Davis as outstanding actress in a comedy series and Lance Gross as outstanding supporting actor in a comedy series for TBS’ “Tyler Perry’s House of Payne.”

The Image Awards are presented annually by the National Association for the Advancement of Colored People, and the group’s members select the winners.

___

Online:

http://www.naacpimageawards.net

___

Follow AP Entertainment Writer Derrik J. Lang on Twitter at http://www.twitter.com/derrikjlang

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Beyonce admits Inauguration Day pre-recording

NEW ORLEANS (AP) — Beyonce answered critics of her Inauguration Day performance the best way she could — with another sterling performance of the national anthem.

The difference?

On Thursday, it was live: She admitted during her Super Bowl news conference that when she performed for President Barack Obama and the nation, she decided to sing to a prerecorded track because she didn’t have time to practice. Calling herself a self-proclaimed “perfectionist,” she said wanted the day to go off without a hitch.

“I practice until my feet bleed and I did not have time to rehearse with the orchestra,” she said, adding that she was also emotional that day. “Due to no proper sound check, I did not feel comfortable taking a risk. It was about the president and the inauguration, and I wanted to make him and my country proud, so I decided to sing along with my pre-recorded track, which is very common in the music industry. And I’m very proud of my performance.”

It was the superstar’s first public comments on what has become known as “Beyonce-gate.”

Her rendition of the anthem was critically praised, but was scrutinized less than a day later when a representative from the U.S. Marine Band said Beyonce was lip-syncing — merely mouthing the words to a pre-recorded track — and the band’s accompanying performance was taped. Shortly after, the group backed off its initial statement and said no one could tell if she was singing live or not.

With the controversy growing each day, and everyone from politicians to other entertainers weighing in, the inauguration performance threatened to overshadow her planned Super Bowl halftime show. So the 31-year-old, wearing a tight, cream mini-dress, addressed the issue as soon as she took to the podium Thursday afternoon.

She asked everyone to stand, and, with an image of the American flag behind her, performed a live rendition of the national anthem that mirrored the one on Inauguration Day. After, she said with a laugh: “Any questions?”

Despite her performance, there were.

When pressed about whether any sound was coming from her voice when she sang for the president, she said she was singing along to the track and not mimicking (though it’s unclear how audible her voice was). And when asked if she would be singing live at the Super Bowl, she said: “I will absolutely be singing live.

“This is what I was born to do.”

She added later: “I always sing live. … The inauguration was unfortunately a time where I could not rehearse with the orchestra, actually because I was rehearsing for the Super Bowl. So that was always the plan.”

Beyonce also got a chance to talk more in detail about the reason why she was in New Orleans — to perform at the halftime show. Calling it one of her career aspirations, she said when she arrived at the Superdome, she was so moved by the experience she took her shoes off and ran on the field, taking in the history at the famed venue.

“It really makes me emotional,” she said. “When I am no longer here, it’s what they’re gonna show.”

Beyonce has teased photos and video of herself preparing for the show, which will perhaps be the biggest audience of her career. Last year, Madonna’s halftime performance was the most-watched Super Bowl halftime performance ever, with an average of 114 million viewers. It garnered more viewers than the game itself, which was the most-watched U.S. TV event in history.

But she would not give anything more away about the performance. While a Destiny’s Child reunion was shot down by Michelle Williams, who is starring in a production of “Fela!”, the third Destiny’s Child member, Kelly Rowland, is in town. Beyonce laughed off questions of whether Rowland or Beyonce’s husband, Jay-Z, would join her on stage.

“I can’t give you any details, sorry,” she said.

She also would not reveal her set list, though acknowledged she was having a hard time trying to “condense a career into 12 minutes.”

Before the news conference, Beyonce’s “Life is But A Dream” was shown to the media. The documentary about the star’s life features her talking in-depth about intimate details of her life, including suffering a miscarriage; it will air on HBO on Feb. 16.

In it, she also reveals more of her 1-year-old daughter Blue Ivy, whom she called her inspiration.

“I feel like my daughter changed me and changed my life and has given me so much purpose,” she said. She added that she was counting down until 9 p.m. Sunday, when her performance would be over — and she could be reunited with Blue Ivy.

___

Follow Nekesa Mumbi Moody at http://www.twitter.com

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Justin Timberlake launches music comeback with Grammy performance

LOS ANGELES (Reuters) – Justin Timberlake, making his pop music comeback with a new single and album, will perform at next month’s Grammy Awards for the first time in four years, Grammy organizers said on Wednesday.

Timberlake, 31, will take the stage at the music industry‘s biggest night in Los Angeles on February 10, ahead of the scheduled March release of his first album since 2006.

“The 20/20 Experience” marks Timberlake’s return to music after several years in which he has focused more on acting and business ventures, including a clothing line and a partnership in social networking site Myspace.

At the Grammy Awards ceremony and show, Timberlake will join performers and country music nominees Miranda Lambert and Dierks Bentley, singers Taylor Swift and Carrie Underwood, and bands Mumford & Sons and FUN.

Elton John will also duet with rising British singer Ed Sheeran, and the Grammy ceremony will be hosted by rapper LL Cool J. Other performers will be announced in the next 10 days.

(Reporting by Jill Serjeant; Editing by Will Dunham)

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Ke$ha bringing her “crazy beautiful life” to MTV series

NEW YORK (Reuters) – Singer Ke$ ha is coming to cable television with a new reality series that promises to document the “drama, madness and euphoria” of her professional and personal life, MTV said on Tuesday.

“Ke$ ha: My Crazy Beautiful Life,” will premiere on MTV in April, the network said.

“You might have heard my voice on the radio, seen me onstage or in a music video, but that’s only a part of the story,” the 25-year-old singer, known for hits including “Tik Tok” and “We R Who We R,” said in a statement.

“With this documentary series I’m revealing a more complete picture of what my life is really like. It’s not all glamorous but it’s all real,” she added.

MTV said the “no-limits” series would depict the music star “as she navigates the drama, madness and euphoria of her professional and personal life while recording a new album and traveling the globe.”

The show was shot over two years by the singer’s brother Lagan Sebert, working with minimal crew, providing what MTV said was an unfiltered, “real and raw” look at her life.

Lagan, a journalist, said that as he watched his sister’s ascent, “I soon realized that the most amazing story was happening in my own family and it became my mission document it … I set off on a two year long journey to tell my sister’s story.”

Ke$ ha has sold 3 million albums and 30 million singles worldwide and has won MTV Europe‘s best new act award. Her most recent album was 2012′s “Warrior.”

(Reporting by Chris Michaud; Editing by Jill Serjeant and Cynthia Osterman)

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