Tennis Ace Novak Djokovic To Complete Cameo In Expendables 2

He's perhaps the very best actor around the ATP Tour together with his place-on impersonations. Now world’s No.1 tennis player Novak Djokovic is placed to create his professional acting debut having a cameo within the Expendables 2. Djokovic has showed up in Bulgaria in which the follow up is filming. The tennis champion will have themself within the movie after you have an invite from producer Avi Lerner. Djokovic, who won 3 from the 4 tennis Grand Jams this season throughout among the best tennis seasons on record, is really as well-known for his tennis abilities because he is perfect for his showmanship. Captured, he shot a parody of tennis player Maria Sharapova’s Mind commercial, compelling the tennis equipment manufacturer to create a new commercial featuring both Djokovic because the Russian beauty and Sharapova herself. Below is really a clip in the 2007 US Open where Djokovic was requested to perform a handful of impersonations of fellow tennis gamers.

Regis Philbin Plotting TV Return With Family Talent Show

Regis Philbin So much for taking a break. Regis Philbin is already planning his next TV project less than two weeks after leaving his longtime post on Live! With Regis and Kelly. Social Power Rankings: Who should replace Regis Philbin? "We're contemplating a show that is sort of a talent show, but it involves the whole family," Philbin, 80, tells The NY Post. A family competition "is something new in our business. It's going to be on primetime when it happens." Philbin recently formed RAF Productions with former Live! director Barry Glazer, City Island executive producer Edward Walson and Cort Cassidy. The longtime TV personality also said he's been approached about other projects, such as bringing back the variety show format. "[An] entertainment type of show would appeal to me," Philbin said. "Almost a variety show. In our business you don't want to say variety because it's frowned upon now, but something with people who are performing." Regis Philbin reveals he's leaving Live! over contract issues Philbin reiterated again that he is not retired, he's just "moving on" after leaving Live! "It wasn't that ABC didn't try to negotiate with me," he said. "As it happens in this business, sometimes you don't really like the terms so you just walk away with that in mind."

The Dreams of Martin Scorsese

A recurring Martin Scorsese nightmare goes like this: He is told that he must start shooting a movie. But he isn't informed what the movie is. He doesn't know what it's about or who the actors are. He only knows that the producers are pushing him to get this thing started, now. A dutiful artist, Scorsese dives in with help from frequent first assistant director Joe Reidy, only to notice that standing to the side of the set is a very famous older director. This mystery director is someone real, and great, but Scorsese, upon waking, never remembers who it is. The guy's presence unnerves him, and he says so to the producers. "Don't worry," he's told. "He's just here to observe. It's your thing.""But I knew that he was probably going to take over what I was doing," Scorsese continues in hushed tones. "And slowly but surely, they say, 'You know, if you could just sit down, we'll let him handle this scene. ' "Scorsese guffaws at the anxiety-drenched punch line and shakes his head. He's able to see the humor in it. At least it's not the dream where he speaks to his late mother, or the one in which his long-departed bichon frise Zoe, who often sat in his lap while he directed "Goodfellas," is found bloodied in the street -- both of which are more likely to bring him to tears. But it's undeniably a rich vision to be bouncing around the subconscious of a 69-year-old artist who long since has established himself as one of the greatest filmmakers of the modern era.The anonymous dream director could be Ingmar Bergman, Akira Kurosawa, Michael Powell, Satyajit Ray, Orson Welles, Jean Renoir -- any of the icons Scorsese has revered and chased with his art for decades. But the insecurity on display is clearly tied to what he and his fellow '70s visionaries felt was a "denigration" of their film-school origins by the previous generation of self-made greats -- the same men and women whose work he's made it his life's mission to preserve. It's no doubt also tied to that greatest of mysteries: What legacy can he himself hope to leave behind?Sitting in the downstairs family room of his Upper East Side brownstone on a crisp Sunday afternoon in November, Scorsese is as buoyant and thoughtful as always. He's just grabbed a quick nap. His wife, Helen Morris, a producer, is upstairs. Their soon-to-be-12-year-old daughter Francesca is at a friend's. His West Highland terriers Flora and Desmond are sequestered in the kitchen (but only after he's given each a playful rub). And he's enjoying the briefest of breaks from putting the final touches on the 3D effects in his latest film, "Hugo," opening Nov. 23.If Scorsese were to have that terrible dream today, the man looking over his shoulder could be Georges Melies, one of the fathers of the moving image and a weighty personal and thematic presence in "Hugo." In the movie, which takes place in 1931 Paris, Melies is a neglected and bitter old man, an enthusiastic innovator whose magical work has been forgotten and destroyed, only to be rediscovered through his encounters with a young orphan named Hugo Cabret. Based on Brian Selznick's Caldecott-winning 2007 novel "The Invention of Hugo Cabret," the $100 million-plus 3D movie is a grand slam of Scorsese preoccupations: the transformative power of cinema, its unique ability to connect people, the need to preserve old movies and the truth that an artist's legacy lives in those who treasure the work. Over the years, Melies has become a mystery himself, and even film buffs often don't have a grasp of just how profound his contributions to cinema were, despite their efforts to piece together the scraps of his legacy. In this, he could not have better cultural archaeologists than Selznick and Scorsese."I loved that all of human history was for him the history of film," says Selznick, who first talked cinema history with the director in London before filming began. "Of course, Scorsese has been responsible for restoring the lost legacies of groundbreaking filmmakers. He is in the position of pointing the way for the public, showing us who has been forgotten and overlooked."Scorsese traces his devotion to film preservation and restoration back to the emotional limitations of his childhood. The younger of two brothers in a very Old World immigrant NY family that lived in Queens and then the Lower East Side tenements, he repeatedly was told to keep his childish opinions to himself. As an asthma sufferer, he was always sick, which meant sports and pets were off limits, leaving him with an external and internal life that only could be opened in a movie theater. "It really opened up things that I wasn't allowed to say much," Scorsese says. "I wasn't allowed to express my feelings about anybody or anything. These emotions and these questions that were being asked in my head and in my heart, a lot of this was being addressed in the films I saw."From a very early age, he was watching everything from "Singin' in the Rain" to Italian neo-realist cinema. His Aunt Mary once took him and a cousin to see a rerelease of "Bambi" at the Forest Hills Theater in Queens, only to have to first sit through the 1947 film noir "Out of the Past." "I was way too young for that one," Scorsese says with an eye roll. "I was saying to my aunt, 'When's 'Bambi' coming on?' She said, 'Shut up, this is good.' The imagery stayed with me, that crazy poetic mood. It was really art." But "On the Waterfront" broke through in a way that none of the others had before -- he saw his hard-working uncles and cousins in every frame of Elia Kazan's 1954 masterpiece. "It was literally as if the camera was in my apartment or on the street corner with us," he says. "All of this meant a great deal to me and connected me with the outside world."By his mid-20s, Scorsese had graduated from film school and was looking to put his own experiences on the screen, most notably in his 1973 crime drama "Mean Streets." But the fallout of expressing his personal world in public ended up stinging him. "I had repercussions on that," he says in a clipped manner that suggests the memory is still fresh for him. "Family and friends who were insulted."Once he found his own voice as a filmmaker, he and peers like Steven Spielberg couldn't find decent prints of the movies that had fed them as kids, and they began a campaign to convince the studios that these classics had value. "They didn't realize that to a whole generation, these were more than just commodities," he says. "It was part of who we are. It was part of everyone who has any relationship with cinema. This is something we started to get militant about. 'You may own them,' I said. 'But in actuality, you're custodians for a culture.' "Scorsese's longtime editor Thelma Schoonmaker, who won Oscars for "Raging Bull," "The Aviator" and "The Departed," remembers his horror after a LACMA screening in the early 1970s of a film classic whose print had turned pink. "It just never had occurred to him that these masterpieces that he was learning so much from could possibly disappear," she says. "He was genuinely shocked. And ever since, that's become his great mission."In 1990, along with Spielberg, George Lucas, Francis Ford Coppola, Sydney Pollack and others, he formed the nonprofit Film Foundation, and in 2007 he created the World Cinema Foundation to extend the organization's restoration work to foreign films. "To pass it on, that's the key thing," he says. (His own prints, which number in the thousands, reside at the archive in the George Eastman House in Rochester, N.Y.) "It's about knowing the past. You don't get an accurate picture of history sometimes through film, but you get an accurate picture of the people who made it and what the world was like at that time and that place where they made it, their attitudes. It's very important."Important enough to wage a stealth campaign to educate his own preteen daughter. Despite the wall-to-wall bookshelves, the Robbie Robertson Stratocaster from "The Last Waltz" and the wooden Laurel & Hardy figurines, the downstairs family room is Francesca's turf. The Steinway she plays obscures a few of her artworks, and two parakeets that her dad complains ignore him provide a singsong background while she does her homework. Although he takes an iPod everywhere, Scorsese says he doesn't get to play his music down here. "Oh, no," he says with mock seriousness, "no, no," as if he were a scared flunky working for a mob boss. On occasion, he admits that he'll stroll through humming Cream's "Sunshine of Your Love" and get Francesca hooked.Their regular ritual has become Saturday afternoon movies that he screens for her and her friends. But how does he get a gaggle of girls to sit for serious cinema? "They don't know," he says, pointing out conspiratorially that you have to do it casually. "If you start them that young, they think this is normal." He bursts into laughter and claps his hands, clearly aware that he's foisting his own passion on them without remorse. "They'll never know." He gleefully explains how he lured them in with classic Disney animated films that he borrowed from the studio, then hit them with the original "The King and I," MGM musicals, "Twilight Zone" episodes and Westerns such as "Stagecoach," "My Darling Clementine" and "Shane." (And yes, she did watch "Out of the Past" with him one night on TCM while he gave commentary on the camera moves; her mother won't let her watch "Bambi.")Even in this fun daddy-daughter context, Scorsese is serious, thoughtful and specific about his approach, as if he's crafting an MFA cinema studies class for students at his alma mater, NYU's Tisch School of the Arts. He holds these little seminars in the screening room at his Sikelia Productions offices, rather than in the one at home, for one specific reason. "I have books and stacks of things around," he says, mildly pained at the potential disturbance of his OCD-established ways. "The next thing you know, everything has fallen down. Their legs go this way, they stretch out, they ruin everything. The thing is that I need to retrieve stuff! It has to be in a specific place. It may not make sense, but visually I know it's there."One byproduct of spending more time with young girls again -- Scorsese's two other daughters, Catherine and Domenica, are more than 20 years older -- is that it helped convince him to make a family film out of "Hugo." "You deal with them every day so that you're made to understand actually how they perceive the world around them, even from the level of their height," he says. "It's a different way of living entirely. But the thing about it is then [doing "Hugo"] seemed natural. It didn't seem like a stretch. Being around children, I'm very comfortable with them now."As it happens, Scorsese's birthday is just a day after Francesca's (hers is Nov. 16), and he feigns exasperation that she gets top billing on their annual combined party. "She gets all the attention now," he says. "I've taken her aside a few times, as they say. I gave her the word: Watch it." More seriously, he just walked one of his daughters down the aisle for the first time, and it hit him hard. His middle girl, Domenica Cameron-Scorsese, born right after he made "Taxi Driver," a product of his marriage to Julia Cameron, was married Nov. 11 in Chicago. The milestone has shaken him; his voice softens, and he fumbles to explain the feelings it brought up."It was very moving, but she's our little one," he says. "It was kind of surreal, I didn't quite understand that it was actually happening in real time. I still can't quite grasp it. This is very good for my daughter and everything; she married a sweet young gentleman. But it starts something new. Your concern is in a different way now for them. There's not much you can do. You can help however you can, but you're older, you'll be dying. You're not going to be around. And this is it."It's hard not to hear in that fatalism an echo of Scorsese's suspicions about the endurance of his own life's work, which now includes 30 features that have earned him eight Oscar nominations (and one win, for directing "Departed") for writing and directing since his 1967 debut, "Who's That Knocking at My Door." Self-deprecation to the contrary, somehow it's not hard to imagine film lovers cuing up "Taxi Driver" or "Goodfellas" centuries from now. Thirty years ago, "Kiss Me Deadly" director Robert Aldrich sent a letter after seeing "Raging Bull" that said, "In years to come, that'll be the one to be remembered." "I prize that letter," Scorsese says, then mulls the possibility with a mix of skepticism and hope."The reality is, for people who create anything, you always want to be remembered," he says. "You could be remembered for a year, a hundred years, you could be remembered for two thousand years, but eventually everything goes. You just have to accept that. First, it may not stand the test of time. And if it doesn't, you did the best you could. You may have affected certain people's lives -- maybe. You may have made people think differently. And that's what you were meant to do. And now it's over."But does he not think that he has achieved this with his movies? "No," he says, explaining that while his predecessors' work was fashioned in a true artistic atmosphere, the era that shaped his own films was more divorced from that kind of inspirational bedrock. "There was grown-up art all around them. Real art," Scorsese says. "They grew up in a different culture. I don't come from that culture. If I had made Bertolucci's "Before the Revolution," or "The Red Shoes" or "Chimes at Midnight." There were times when I thought I could. When you get to a certain age, you realize you may not, and you may never have.""It took 10 years before 'Raging Bull' was recognized as a significant film," says Schoonmaker. "He has experienced what it means for a great work not to be recognized. And he's seen so many of the masters he loved fall into oblivion, like Melies, so he's prepared for that. What's happened with his films is that they last, because they've got truth in them. Truth always lasts."Scorsese seems to acknowledge this, finally, after a meaningful pause, the parakeets providing their own chattering commentary quietly behind him. He leans forward, his meditative eyes swimming in the split pools of his thick bifocals. Then he says, "A lot of them that I admire, they wouldn't have made "Mean Streets" -- they couldn't have made "Mean Streets." What happens is, in wishing that you made those, you feed off of it. And it goes into something you're doing. And if the material is right, and if the actors are right, and the script is right, and you're in the right head to make it that's your wish come true. That's it."SCORSESE'S ADAPTATIONS "Hugo" (2011) | Paramount Screenwriter : John LoganAdapted from: "The Invention of Hugo Cabret" (2007) by Brian Selznick"Shutter Island" (2010) Paramount Screenwriter: Laeta KalogridisZero nominations |$294.8mworldwideAdapted from: "Shutter Island" (2003) by Dennis Lehane"Bringing Out the Dead" (1999) Paramount Screenwriter: Paul SchraderZero nominations |$16.8mworldwideAdapted from: "Bringing Out the Dead" (1998) by Joe Connelly"Casino" (1995) Universal Screenwriters: Nicholas Pileggi & ScorseseOne nomination |$116.1mworldwideAdapted from: "Casino: Love and Honor in Las Vegas" (1995) by Nicholas Pileggi"The Age of Innocence"1993 | Columbia Screenwriters: Jay Cocks & ScorseseFive nominations, one win |$32.3mworldwideAdapted from: "The Age of Innocence" (1920) by Edith Wharton"Cape Fear" (1991) Universal Screenwriter: Wesley StrickTwo nominations |$182.3mworldwideAdapted from: "The Executioners" (1957) by John D. MacDonald"Goodfellas"1990 | Warner Bros. Screenwriters: Nicholas Pileggi & ScorseseSix nominations, one win |$46.8mworldwideAdapted from: "Wiseguy" (1986) by Nicholas Pileggi"The Last Temptation of Christ" (1988) Universal Screenwriter: Paul SchraderOne nomination |$8.4mworldwideAdapted from: "The Last Temptation" (1953) by Nikos Kazantzakis"The Color of Money" (1986) Buena Vista Screenwriter: Richard PriceFour nominations, one win |$52.3mworldwideAdapted from: "The Color of Money" (1984) by Walter Tevis"Raging Bull" (1980) MGM Screenwriters: Paul Schrader & Mardik MartinEight nominations, two wins |$23.4mworldwideAdapted from: "Raging Bull: My Story" (1970) by Jake La Motta"Boxcar Bertha" (1972) American International Pictures Screenwriters: Joyce H. & John William CorringtonZero nominationsAdapted from: "Sisters of the Road" (1937) by Dr. Ben L. Reitman The Hollywood Reporter

You Know What's Awesome? This New Trailer For Shame

From Sideways to Little Miss Sunshine to Slumdog Millionaire and Black Swan, Fox Searchlight has long proven more than adept at marketing its awards-season wares. Thus the distributor seemed a logical choice to acquire Shame, the acclaimed sex-addict drama that was near-instantly presumed to be destined for an accursed NC-17 rating. But now Searchlight, continuing its “What, us worry?” campaign on behalf of the Steve McQueen-directed, Michael Fassbender-starring gem, may have hit its stride. The first trailer was fine and all, but it wasn’t until we got into poster territory that we all really saw the inspiration begin to crystallize. And now there’s this preview, replete with the head-exploding NC-17 green band from the MPAA ratings board and set co-star Carey Mulligan’s mournful “NY, NY.” It’s otherwise mostly silent, not so unlike many the most evocative bits of McQueen’s film — the subway flirtations seen here chief among them. Anyway, I love this. Shame opens Dec. 2 in limited release. VERDICT: Sold!

Exclusive Video: Watch Mike and Claire's Tense Reunion On Degrassi: Nowhere to operate

Degrassi It's awkward enough whenever your mother marries the father of your senior high school class mates, but how about when that classmate is the ex-boyfriend? Exclusive Video: Will Degrassi's Carol J. reach promenade? Within this exclusive clip in the approaching Degrassi: Nowhere to operate special, Claire (Aislinn Paul) is reunited with Mike (Justin Kelly) at their parents' wedding - and he's searching to reunite. "I figured about us and that i recognized I still adore you,Inch he informs her. But a heartbroken Claire does not exactly reciprocate. Watch full instances of Degrassi within our Movie Guide Watch the clip below (and search for a pleasant jerk to "Team Cake" in the finish): Degrassi: Nowhere to Ride airs Friday at 9/8c on TeenNick.

AMC Buys Sci-Fi Drama From Paul Boardman, Scott Derrickson & David Eick

EXCLUSIVE: After striking gold with horror series The Walking Dead, AMC is searching to grow its genre portfolio having a sci-fi drama. The cable network has bought Thunderstruck, an hourlong UFO project from feature writing/pointing duo Paul Boardman and Scott Derrickson and former Battlestar Galactica executive producer David Eick. Boardman and Derrickson will write the drama, about effective and enigmatic organizations that begin showing up throughout the planet. After one turns up within the town of Great Falls, Montana, the neighborhood people must grapple using the dramatic effects and growing mystery of repeated visitations. Boardman and Derrickson will executive produce Thunderstruck with Eick. Derrickson is placed to direct. This marks the very first major foray into television for Boardman & Derrickson, who authored The Exorcism Of Emily Rose, with Derrickson pointing. The duo are writing Zwart Water for Derrickson to direct, with Charlize Theron mounted on star and convey. Eick is co-writing two high-profile series projects with Guillermo Del Toro Hulk at ABC, in line with the Marvel character, and Inhuman at Cinemax. Boardman, Derrickson and Eick are with WME.

New Snow White-colored as well as the Huntsman Art Signifies Alice-Like Tone

Set photos from the armored Christian Serratos as well as the star’s own description of Snow White-colored as well as the Huntsman’s bloody edge had me thinking this might be the higher transgressive of those two Snow White-colored projects inside the works (another being Tarsem’s lately titled Mirror, Mirror, starring Lily Collins and Armie Hammer). The initial official SWATH banner art, however, signifies something a bit more kid-friendly, even Alice's adventures in wonderland-esque. Or am I reading through through a lot of to the fantastical, Photoshopped plants and animals swirling around Stewart, Chris Hemsworth, as well as the disembodied mind of evil full Charlize Theron? Judge by yourself: It’s a great deal of banner art clearly attempting to share the earth-building from the fantasy world with scope and sharp things. The Three players — Stewart’s fight-ready Snow White-colored, Hemsworth’s axe-transporting Huntsman, Theron’s wicked witch from the full — are prepared for war. They’re also all searching askance in a variety of directions. “There’s a great deal to determine here,” their steely looks scream. “Just wait til you have a load from the products I’m/he’s/she’s searching more than there!” (Click for hi-res image) Match facing Disney’s tableau art for Alice's adventures in wonderland: The Alice parallels aren’t surprising since producer Joe Roth also made the Tim Burton blockbuster at Disney, in addition to since Alice developed a garbage-fortune serving the greater youthful fantasy demographic (which overlaps with Stewart’s Twilight demo). Should’ve seen next, however it appears sensible nonetheless. The SWATH synopsis, because of Universal: Inside the epic action-adventure Snow White-colored as well as the Huntsman, Christian Serratos (Twilight) plays alone inside the land more proper in comparison to evil full (Oscar champion Charlize Theron) to eliminate her. But just what the wicked ruler never imagined is the youthful lady threatening her reign remains learning the ability of war getting a huntsman (Chris Hemsworth, Thor) delivered to kill her. Mike Claflin (Pirates in the Caribbean: On Stranger Tides) joins the cast since the prince extended enchanted by Snow White-colored’s beauty and.The breathtaking new vision in the legendary tale originates from Joe Roth, producer of Alice's adventures in wonderland, producer Mike Mercer (The Sixth Sense) and acclaimed commercial director and condition-of-the-art visualist Rupert Sanders. Snow White-colored as well as the Huntsman will his theaters June 1, 2012.

'Tower Heist' Falls To 'Puss In Boots' At Box Office

FROM MTV MOVIES: Two completely different heist movies went mind-to-mind over the past weekend, as well as in an unexpected upset, a rapier-carrying cartoon cat emerged victorious over two high-profile comics. Inside a turn of occasions which was somewhat shocking to Hollywood, Eddie Murphy's return in the land of family-friendly fare alongside Ben Stiller within the PG-13 "Tower Heist" opened up behind last weekend's #1 movie, "Puss in Boots." Audiences ongoing in the future to watch the three-D "Shrek" spinoff character snatch some miracle beans from an evil Jack and Jill in "Puss in Boots" towards the tune of $33 million, keeping the DreamWorks Animation flick at #1 having a $75.5 million domestic total. "Puss" dropped just 3 % from the $33.04 million debut, which marked an unprecedentedly low non-holiday decline for any wide release. Browse the full story at MTV Movies!

Songs (As cancoes)

A VideoFilmes presentation and production. Produced by Joao Moreira Salles, Mauricio Andrade Ramos. Directed, written by Eduardo Coutinho.With: Dea, Gilmar, Esmeralda, Jose Barbosa, Sonia, Nilton, Isabell, Zio, Jose, Lidia, Fatima, Ramon, Maria de Fatima, Maria Aparecida.Like Frederick Wiseman, 1930s-born Brazilian docu filmmaker Eduardo Coutinho ("Twenty Years Later," "Master Building," "Playing") quietly keeps churning out one strong film after another. His latest, "Songs," is again a deceptively straightforward feature, and looks at such wide-ranging subjects as human nature, diversity and the power and importance of music and love by simply asking a group of Rio de Janeiro inhabitants to talk about their favorite Brazilian song. The result is, to put it simply, lyrical. After its Rio preem, the pic will launch internationally at IDFA, as part of a Coutinho mini-retrospective. Though the 78-year-old Coutinho has also directed fiction films, co-written screenplays and occasionally worked as an actor (recently in "From Beginning to End"), since the late 1990s, the prolific director has mainly focused on documentaries. His apparently nonchalant style, with its roots in TV reporting, has now become so loose that Coutinho almost seems to stumble upon fabulous people and stories, though in reality they are the result of careful research and selection. For "Songs," an initial group of 237 potential interviewees, found by placing ads in newspapers recruiting people in Rio's avenidas, resulted in 42 filmed interviews, though only 18 finally appear onscreen. Each person has about five minutes to sing a bit of his or her favorite tune, a capella, and explain why that song is important to them. The simplicity of the idea is echoed in the backdrop, which consists of a stage with a single chair and black curtains lit by a spotlight. During the interviews, people are framed in medium closeups, though a wider shot at the beginning or end of a scene might show off something of the subject's personality, through body language, as he or she enters or leaves the stage. The choices of songs, all Brazilian, might be unfamiliar for foreign viewers, but the stories behind them are universally recognizable. Widower Gilmar, an emotional man, performs a song his seamstress mother used to sing when he was a boy. Stalkerish Sonia still can't get over her first love three decades later, while German Isabell, who came to Rio to marry a Brazilian who then left her, finds both revenge and peace in a (heavily accented) samba song. Lidia tried to shoot her lover, while Zio mourns the loss of his three "mothers": his real mom, wife and mother-in-law, who all died in the same year. Most of the interviewees -- diverse in age and background, and only identified onscreen by their first names -- choose songs they must have picked up on the radio, though Zio has written his own. A special case is one of the film's most unforgettable protags, the lively Dea, who's convinced that the wrong date was put on her birth certificate because she doesn't feel like someone who was born in 1928. She sings a tune from the king of Brazilian music, Roberto Carlos, which she once sang with him, adding mischievously: "He was married at the time." Popping up throughout are recurring themes of love, loss and desire, all complex emotions that are also the subjects of many tunes. The brilliance of Coutinho's conceit is that he sets out to demonstrate that people often turn to song when words can't express how they feel, but he shows this by letting people talk about the emotions that inspired their song of choice. Tech package is modest but classy. Pic was produced by VideoFilmes, the company of helmer Fernando Meirelles.Camera (color, HD), Jacques Cheuiche; editor, Jordana Berg; sound, Valeria Ferro; assistant director, Ernesto Piccolo. Reviewed at Rio de Janeiro Film Festival (competing), Oct. 13, 2011. (In Intl. Documentary Film Festival Amsterdam -- competing.) Running time: 91 MIN. Contact Boyd van Hoeij at news@variety.com

Nathan Lane, Cheyenne Jackson to Star in New USA Comedy

Nathan Lane, Cheyenne Jackson Nathan Lane will star in and executive-create a new comedy on USA, the network introduced Friday. The untitled Douglas McGrath Project stars the Tony champion being an unlucky actor whose Broadway aspirations need to be placed on hold and go back to his Texas home town when his father's health requires a turn for that worse. Cheyenne Jackson (30 Rock, Glee) and Ken Jenkins (Scrubs) will even star. Browse the relaxation of present day news "Nathan Lane is among the most versatile comedy forces within the entertainment industry.We are thrilled with an actor his stature and Doug McGrath's masterful script aligned using the launch in our comedy brand," stated Bill McGoldrick, Senior V . P . of Original Scripted Programming at USA Network. "We are not surprised the mixture of Nathan and Doug rapidly attracted such high-quality and notable stars as Cheyenne and Ken." Oscar nominee McGrath will write and direct the pilot, in addition to executive-produce alongside Lane.

'Magnolias' blossom in U.K.

LONDON -- A brand new revival of Robert Harling's bittersweet comedy "Steel Magnolias" will tour the U.K. inside a production helmed by David Gilmore ("Grease") and created by David Ian Prods. ("Seminar," presently previewing on Broadway).Opening in Bath April 2, "Steel Magnolias" will hit Cardiff, Bradford, Nottingham, Brighton, You are able to, Richmond, Birmingham and Southampton, ending Jun. 16 in Milton Keynes.The development, whose cast of legit and TV names includes Isla Blair, Cheryl Campbell and Cherie Lunghi, is thought to become thinking of getting an autumn West Finish berth. Contact David Benedict at benedictdavid@mac.com