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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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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U.S. Senate Intelligence Committee drops bin Laden film probe

WASHINGTON (Reuters) – One day after “Zero Dark Thirty” failed to win major awards at the Oscars, a congressional aide said on Monday the Senate Intelligence Committee has closed its inquiry into the filmmakers‘ contacts with the Central Intelligence Agency.

The intelligence committee gathered more information from the CIA and will not take further action, according to the aide, who requested anonymity.

Sony Pictures Entertainment, which distributed the film in the United States, said it was in touch with the filmmakers but had no immediate comment. Screenwriter Mark Boal said he had no comment. But attacks by Washington politicians may have damaged its prospects at the Academy Awards. “Zero Dark Thirty” was nominated for a best picture award, which it did not win. Also, in what industry watchers considered a snub, director Kathryn Bigelow did not receive a best director nomination.

The Senate committee launched its review of the film, a dramatization of how the U.S. government located and killed Osama bin Laden, after its chairwoman, Senator Dianne Feinstein, expressed outrage over scenes that implied that “enhanced interrogations” of CIA detainees produced an breakthrough that helped lead to the al Qaeda leader.

In December, as “Zero Dark Thirty” was about to premiere nationwide, Feinstein joined fellow Democrat Carl Levin, chairman of the Senate Armed Services Committee, and Republican Senator John McCain in condemning “particularly graphic scenes of CIA officers torturing detainees” in the film.

A source familiar with contacts between the filmmakers and intelligence officials said the CIA did not tell the filmmakers “enhanced interrogations” led to bin Laden. Instead, the agency helped develop characters in the film, said the source.

The political fallout prompted Bigelow to write in an op-ed piece: “Those of us who work in the arts know that depiction is not endorsement. If it was, no artist would be able to paint inhumane practices, no author could write about them, and no filmmaker could delve into the thorny subjects of our time.”

The government cooperated as much, if not more, on “Argo,” the film about the 1979-81 hostage crisis in Iran that won the best picture Oscar. Actor-director Ben Affleck and his team were allowed to film scenes in the lobby of the CIA building in Langley, Virginia; the “Zero Dark Thirty” crew did no such filming.

(Reporting By Mark Hosenball. Editing by Warren Strobel and Doina Chiacu)

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“The Americans” renewed by FX for second season

LOS ANGELES (TheWrap.com) – “The Americans” has been picked up by FX for a 13-episode second season, network president John Landgraf said on Thursday.

The renewal comes just four episodes into the first season of the series, which premiered in January with 5.11 million total viewers to become the most-watched debut of any FX series.

FX’s newest hit drama to join the roster of original programming stars Keri Russell and Matthew Rhys as two KGB spies posing as an American married couple in suburban Washington D.C.

“‘The Americans’ has quickly established itself as a key part FX’s acclaimed drama line-up,” Landgraf said. “Executive Producers Joe Weisberg, Joel Fields and Graham Yost and their collaborators are telling riveting and deeply emotional stories and the performances of Keri Russell, Matthew Rhys, Noah Emmerich and the entire cast are simply outstanding. The show is truly worthy of its widespread critical acclaim and we are confident that its quality will continue to yield a robust and passionate audience.”

“We’re very grateful to John Landgraf, Nick Grad, Eric Schrier and everyone at FX for their unwavering support of our show,” Weisberg, the show’s creator, said. “We’re thrilled to be able to continue writing stories for such an incredibly talented cast led by Keri, Matthew and Noah. We appreciate the support of the audience and we believe they have a lot to look forward to the rest of this season.”

“Working with Joe Weisberg, Graham Yost, Josh Brand, Adam Arkin, our writing staff, and the brilliant cast and crew has been a blast and I’m delighted we get to keep doing it,” co-executive producer Fields added. “We couldn’t have made it happen without the constant support of Justin Falvey and Darryl Frank at Amblin TV, David Madden at Fox Television Studios and Eric Schrier at FX Productions and their wonderful teams as well.”

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Afghan teens of ‘Buzkashi Boys’ stargazing in Hollywood

LOS ANGELES (Reuters) – The teenage stars of an Oscar-nominated short film from Afghanistan arrived in Los Angeles on Wednesday for the Academy Awards after an Internet campaign raised enough money to pay for their trip.

“Buzkashi Boys” actors Fawad Mohammadi and Jawanmard Paiz will walk the red carpet and rub shoulders with Hollywood‘s biggest stars at the Dolby Theater in Los Angeles on Sunday night.

The film focuses on two children growing up in Kabul who dream of becoming Buzkashi riders, horsemen who compete in the dangerous Afghan national sport similar to polo in which riders try to carry a headless goat across a goal line.

The film garnered U.S. director Sam French an Oscar nomination for Best Live Action Short Film.

Its producers launched the campaign because, they said, they lacked a travel budget for the 14-year-old actors.

“I’m so happy and excited,” Mohammadi told Reuters at Los Angeles International Airport after flying more than 18 hours from the Afghan capital. “I can’t say my feelings.”

Some 237 people donated money to the travel fund, which raised $ 11,751, eclipsing its $ 10,000 goal, fundraising website Rally.org said. Donations were received from 13 countries, including the United States, Afghanistan, India and Germany.

Turkish Airlines donated the tickets for Mohammadi, Paiz and a chaperone.

Mohammadi, an amateur actor with piercing green eyes, gained international attention following the film’s release last year for his personal story as a fatherless youth who grew up selling maps of Kabul to tourists in its Chicken Street market.

Both teens said they wanted to see all the actors during their week in Hollywood in which they also plan to visit amusement parks Disneyland and Universal Studios.

Speaking of famous actors, Mohammadi said: “I can’t say ‘This one’ or ‘That one,’ (but) I want to see Rambo, Sylvester Stallone.”

One of the boys in the film is a street kid like Mohammadi, the other the son of a blacksmith forced to spend long hours in his father’s dark workshop sharpening ax heads.

French said the goal is to make the week-long trip culturally relevant for the teens.

“Just the fact that we’re talking about something other than the war, other than bombs and bullets, I think is a huge step forward,” French said. “And hopefully we can show that these kids are like normal kids everywhere.”

Mohammadi and Paiz will fly to Washington for screenings of the film on February 27 and begin their journey back to Kabul on March 1.

“Buzkashi Boys,” which runs for just 28 minutes, is the first film to be produced by the Afghan Film Project, a non-profit group that aims to train filmmakers in Afghanistan.

(Writing by Eric Kelsey, editing by Jill Serjeant and Philip barbara)

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‘Good Day to Die Hard’ debuts with $28.6M take

LOS ANGELES (AP) — Bruce Willis’ action sequel “A Good Day to Die Hard” hauled in $ 28.6 million to lead the box office over the long President’s Day weekend.

The top 20 movies at U.S. and Canadian theaters Friday through Monday, followed by distribution studio, gross, number of theater locations, average receipts per location, total gross and number of weeks in release, as compiled Tuesday by Hollywood.com are:

1. “A Good Day to Die Hard,” Fox, $ 28,640,657, 3,553 locations, $ 8,061 average, $ 36,879,773, one week.

2. “Identity Thief,” Universal, $ 27,456,470, 3,165 locations, $ 8,675 average, $ 74,744,255, two weeks.

3. “Safe Haven,” Relativity Media, $ 24,469,155, 3,223 locations, $ 7,592 average, $ 33,298,073, one week.

4. “Escape from Planet Earth,” Weinstein Co., $ 21,101,976, 3,288 locations, $ 6,418 average, $ 21,101,976, one week.

5. “Warm Bodies,” Lionsgate, $ 10,550,103, 2,897 locations, $ 3,642 average, $ 51,770,634, three weeks.

6. “Beautiful Creatures,” Warner Bros., $ 8,945,261, 2,950 locations, $ 3,032 average, $ 11,487,578, one week.

7. “Silver Linings Playbook,” Weinstein Co., $ 7,413,756, 2,202 locations, $ 3,367 average, $ 99,788,228, 14 weeks.

8. “Side Effects,” Open Road Films, $ 7,299,145, 2,605 locations, $ 2,802 average, $ 20,119,981, two weeks.

9. “Hansel and Gretel: Witch Hunters,” Paramount, $ 4,176,456, 2,103 locations, $ 1,986 average, $ 50,405,251, four weeks.

10. “Zero Dark Thirty,” Sony, $ 3,602,315, 1,522 locations, $ 2,367 average, $ 88,530,983, nine weeks.

11. “Mama,” Universal, $ 3,081,765, 1,648 locations, $ 1,870 average, $ 68,561,940, five weeks.

12. “Argo,” Warner Bros., $ 2,625,357, 903 locations, $ 2,907 average, $ 127,288,409, 19 weeks.

13. “Life of Pi,” Fox, $ 2,074,617, 647 locations, $ 3,207 average, $ 111,376,518, 13 weeks.

14. “Lincoln,” Disney, $ 2,063,120, 1,007 locations, $ 2,049 average, $ 176,651,047, 15 weeks.

15. “Django Unchained,” Weinstein Co., $ 1,857,164, 1,017 locations, $ 1,826 average, $ 157,350,147, eight weeks.

16. “Quartet,” Weinstein Co., $ 1,624,647, 333 locations, $ 4,879 average, $ 7,200,664, six weeks.

17. “The Hobbit: An Unexpected Journey,” Warner Bros., $ 1,276,940, 605 locations, $ 2,111 average, $ 300,161,285, 10 weeks.

18. “Wreck-It Ralph,” Disney, $ 1,102,070, 506 locations, $ 2,178 average, $ 185,835,929, 16 weeks.

19. “Les Miserables,” Universal, $ 1,098,445, 676 locations, $ 1,625 average, $ 145,764,425, eight weeks.

20. “Amour,” Sony Pictures Classics, $ 858,412, 306 locations, $ 2,805 average, $ 4,081,541, nine weeks.

___

Online:

http://www.hollywood.com

___

Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Tony Sheridan, early Beatles supporter, dies aged 72: media

BERLIN (Reuters) – Singer-songwriter Tony Sheridan, an early supporter of the Beatles, has died in Hamburg aged 72 following a long illness, German media reported.

Sheridan used the Beatles, then known as the Silver Beatles, as his back-up band when they played in seedy nightclubs in Hamburg’s red light district in the 1960s well before numerous No. 1 hits made the British band famous.

Sheridan died on Saturday, Feb 16, Hamburg-based magazine Der Spiegel reported on its website, citing a post by the musician’s family on social media website facebook. A search by Reuters found no such post.

The Beatles, then playing as “The Beat Brothers” also backed Sheridan on his song “My Bonnie” and Sheridan last year played at the 50th anniversary of the legendary Hamburg Star club, Der Spiegel reported.

A 1962 performance including Ringo Starr on the drums at the Star Club with songs such as “Roll Over Beethoven” was a watershed performance that helped catapult the Beatles to fame. They were Sheridan’s warm-up act that night.

“Tony was a good guy who we knew and worked with from the early days in Hamburg,” former Beatle Paul McCartney said in a statement on his website on Monday.

“We regularly watched his late night performances and admired his style. He will be missed.”

(Reporting by Annika Breidthardt; Editing by Michael Roddy)

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“Zero Dark Thirty” and “Argo” win top Writers Guild Awards

LOS ANGELES (Reuters) – U.S. film and television writers gave their top two movie awards on Sunday to “Zero Dark Thirty” and “Argo” in the final Hollywood guild awards show before next week’s Oscars.

Writer Mark Boal won the Writers Guild of America award for Best Original Screenplay for “Zero Dark Thirty,” which chronicles the intense U.S. manhunt and daring raid that killed al Qaeda leader Osama bin Laden.

Asked backstage what message he hoped to send to audiences with the film, Boal said: “I think (director Kathryn Bigelow) said it best when she said she wanted to shine a light on a dark decade. I don’t know that I could put it any better than that.”

“Argo,” about the Hollywood-assisted rescue of American hostages in Iran during the 1979 revolution, earned writer Chris Terrio WGA‘s trophy for Best Adapted Screenplay.

“I’ve never actually won a call-your-name award before,” an overwhelmed Terrio said backstage at the awards.

The WGA awards gave the winning films a last boost in the race for the Oscars, the world’s top film honors, because many guild members also belong to the Academy of Motion Picture Arts and Sciences that hands out the Oscars on February 24.

The guild gave a special nod to “Lincoln,” honoring screen writer Tony Kushner with a special award recognizing work that embodies the spirit of civil rights and liberties. “Lincoln,” a drama about President Abraham Lincoln‘s fight to abolish slavery, was up against “Argo” for WGA’s Best Adapted Screenplay.

“Argo” and “Lincoln” are considered front-runners for this year’s Best Picture Oscar, although “Argo” recently has taken a slight edge after also nabbing the top prize from both the director and producer guilds, which each have strong records of predicting Oscar winners.

“Searching for Sugar Man” writer-director Malik Bendjelloul nabbed the WGA award for documentary screenwriting.

“Breaking Bad” won for Best TV Drama Series and the writers of “Louie” claimed the prize for TV Comedy Series. “Girls” was named for Best New TV Series.

(Reporting By Lisa Baertlein in Los Angeles; Editing by Eric Beech)

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Romanian movie ‘Child’s Pose’ wins at Berlin fest

BERLIN (AP) — A Romanian drama that centers on a woman’s effort to cover up her son’s responsibility for an accident in which a boy is fatally injured won the Berlin film festival‘s top Golden Bear award on Saturday.

“Child’s Pose,” directed by Calin Peter Netzer, emerged as the winner from a field of 19 films that included a strong eastern European contingent this year — the 63rd edition of the event, the first of the year’s major European film festivals. Netzer said he was “a little bit speechless” at the award.

The tale of corruption and guilt depicts the efforts of an upper-class mother, played by Luminita Gheorghiu, to bribe witnesses to give false statements and keep her son — the driver, who was speeding at the time of the accident — out of prison.

“This is about a … pathological relationship between mother and son,” he told reporters later. “The rest is really just a backdrop,” Netzer told reporters, stressing that it is “a very universal story” and that “corruption is not something which is only taking place in Romania.”

A runner-up Silver Bear went to “An Episode In the Life of an Iron Picker,” in which a Bosnian Roma, or gypsy, couple re-enact their own struggle to get treatment after their baby died in the womb. The movie was made on a tiny budget by Danis Tanovic, whose “No Man’s Land” won the Oscar for best foreign-language film in 2002.

Nazif Mujic, the husband, was voted best actor by the festival jury.

“Of course, I’m not an actor — I simply played my own story. I played myself in my family. I don’t know what I should say,” Mujic, who says that he still has no regular job and collects scrap metal as he did at the time the drama played out, told 3sat television.

Best actress was Paulina Garcia for the title role in Chilean director Sebastian Lelio’s “Gloria.” Garcia plays a divorcee at the end of her 50s trying to stave off loneliness, rushing into singles’ parties but struggling to overcome disappointment.

American filmmaker David Gordon Green was honored as best director for “Prince Avalanche,” a movie about two road workers whiling their way through a long, monotonous summer with little more than each other for company. It’s a remake of an Icelandic film, “Either Way.”

The best script award went to dissident Iranian filmmaker Jafar Panahi for “Closed Curtain,” a movie he co-directed with longtime friend Kamboziya Partovi in defiance of a ban on filmmaking.

The film, in which the two directors play the main roles, reflects Panahi’s frustration at being unable to work officially — it’s set inside an isolated seaside villa, much of the time with the curtains drawn.

Partovi accepted the award on behalf of Panahi, who wasn’t allowed to leave Iran, telling the audience that “it’s never been possible to stop a thinker and a poet.”

The prize for outstanding artistic achievement went to Aziz Zhambakiyev for his camerawork in Kazakh director Emir Baigazin’s “Harmony Lessons,” which centers on a teenager tormented by his schoolmates.

The festival’s Alfred Bauer prize for innovation went to Canadian director Denis Cote’s “Vic+Flo Saw a Bear.”

A seven-member jury led by filmmaker Wong Kar-wai chose the winners.

Wong said the jury gave “special mentions” to two more films that didn’t win awards, acknowledging “the integrity of their vision and their conviction that cinema can make a difference.”

Those were Matt Damon’s Gus Van Sant-directed drama on shale gas drilling, “Promised Land,” and South African director Pia Marais’ “Layla Fourie.”

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Dylan McDermott cast in CBS’s “Hostages” pilot

NEW YORK (TheWrap.com) – Dylan McDermott will join Toni Collette in “Hostages,” a CBS drama pilot about a family caught in a vast political conspiracy.

The star of FX’s “American Horror Story” will play Duncan, a righteous FBI agent at the center of it.

Collette, the star of Showtime’s “United States of Tara,” was cast last month as Ellen, a surgeon chosen to operate on the President. When her family is swept into the conspiracy, she has to save her husband and children.

McDermott has previously starred on shows including “The Practice,” “Big Shots” and “Dark Blue.” He also appeared recently in the film “The Campaign.”

“Traitor” director Jeffrey Nachmanoff is writing, directing and executive producing the pilot, which is based on an Israeli format created from Alon Aranya, Omri Givon and Rotem Shamir.

Shamir and Givon are also executive producing, along with Jerry Bruckheimer, Jonathan Littman and Chayim Sharir. The series comes from Jerry Bruckheimer Television in association with Warner Bros. Television.

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Obama State of Union speech watched by 33.5 million on TV

(Reuters) – Some 33.5 million Americans tuned in for President Barack Obama‘s economy-focused State of the Union speech live on television, just a slight drop from the TV audience for his 2012 address.

According to ratings data from Nielsen on Wednesday, Obama’s speech on Tuesday night was carried live on 15 U.S. broadcast and cable networks and was tape-delayed on Spanish-language channel Univision.

In an assertive start to his second term, Obama urged the sharply divided U.S. Congress to raise the minimum wage and strive for economic fairness for Americans hit by unemployment and four years of recession.

The TV audience for Obama’s annual State of the Union addresses has dropped off sharply since he was first elected, from 52.4 million in 2009 to 37.7 million in 2012.

The most-watched television event in the United States is the annual Super Bowl, which drew some 108.7 million viewers earlier in February.

The Nielsen figures do not take into account viewers watching online or on mobile devices.

(Reporting By Jill Serjeant; Editing by Leslie Gevirtz)

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“Midnight Express” editor Gerry Hambling dead at 86

LOS ANGELES (TheWrap.com) – Gerry Hambling, the British film editor whose credits include “Midnight Express,” “Pink Floyd: The Wall” and “Mississippi Burning,” died February 5 in England. He was 86.

Hambling, who entered the film industry at 16 as an editor’s apprentice, was a longtime collaborator of director Alan Parker, editing 14 of his films.

“He was undoubtedly one of the finest film editors that the British film industry has produced,” Parker remembered.

John Grover, vice chairman of the Guild of British Film Editors, which Hambling helped found in 1966, remembered Hambling as a man of “warmth and understanding.”

“He was a hard working technician who loved loud music and fast action sequences; he was rather hard on equipment but never got used to editing electronically as he preferred to handle film, something he could ‘see and feel,’” Grover said. “He will be missed by friends and colleagues for his warmth and understanding. It was an honor to have known him.”

Hambling won three BAFTA Awards, and received the Career Achievement Award from the American Cinema Editors in 1998. He had also been nominated for six Oscars.

Hambling’s last editing job was on the 2003 Parker drama “The Life of David Gale,” starring Kate Winslet and Kevin Spacey.

Hambling died in Burwell, Cambridgeshire.

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Stars show skin, but adhere to Grammy dress code

LOS ANGELES (Reuters) – There were no “wardrobe malfunctions” but stars at the 55th Grammy Awards were not covering up either, despite being asked to dress “appropriately.”

Presenter Jennifer Lopez, wearing a black off-the-shoulder Anthony Vaccarello gown slit up her thigh on one side, joked about her attire.

“As you can see, I read the memo,” said the diva who caused a stir a few years ago when she appeared at the Grammys in a Versace gown with a neckline that dropped below her navel.

“You inspired the memo!” said her co-presenter Pitbull, getting a big laugh from the audience.

Broadcaster CBS last week issued a memo asking that Grammy performers and presenters keep their breasts, buttocks and genitals covered up.

“I thought about the dress code. And thought about it again. And that’s about it. I respect it. See, I wore clothes,” Destiny’s Child singer Kelly Rowland told reporters backstage of her black Georges Chakra gown that featured several strategically placed cutouts.

Singer Kimbra, who recorded “Somebody That I Used to Know” with Gotye, and won Record of the Year, wore a sheer, sparkly dress with a skin-colored layer beneath, giving the illusion she was covered by strategically placed baubles. “I’m fine with the dress code,” she said on the red carpet.

Katy Perry bared her cleavage in a green gown, but Beyonce covered up in a black pantsuit for the red carpet and Rihanna chose an elegant red gown.

Redfoo, the flamboyant 37-year-old LMFAO singer, had some fun and showed off his legs on the red carpet, sporting knee length pants to go with his suit.

“I couldn’t wear no Speedo … so I got my suit on,” he told Reuters on the red carpet.

Singer Adele’s look was a little too conservative for some people’s tastes. Her red and pink, flowered-covered frock featured a high neck.

As usual, there were some kooky outfits on display. Al Walser, who was nominated for Best Dance Recording for his single, “I Can’t Live Without You,” donned an astronaut’s space suit.

Born in Switzerland to a mother from Lichtenstein and an African father, Walser explained that being from Lichtenstein was like being from another planet because it is so small.

Blues singer Dr. John wore a Mardi Gras-inspired feathered headdress for his performance with the Preservation Hall Jazz Band.

(Reporting By Nichola Groom and Susan Zeidler; Editing by Jill Serjeant and Stacey Joyce)

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Recovering ‘Good Morning America’ host Robin Roberts sets return

(Reuters) – “Good Morning America” host Robin Roberts will rejoin the ABC morning television show on February 20 after treatment for a rare blood disorder, the show said on Thursday.

Roberts’ doctors deemed her healthy enough to return to work five months after receiving a bone marrow transplant to treat myelodysplastic syndrome, a bone marrow disorder triggered by treatment for breast cancer five years ago.

“I’m excited to rejoin my wonderful ‘GMA’ family,” Roberts, 52, said in a note posted online on Thursday. “I’m also looking forward to thanking YOU … for your many prayers and well wishes. Your compassion has been an enormous source of comfort to me and my family.”

Roberts will begin appearing on an abbreviated schedule and eventually return to working five days a week, co-anchor Sam Champion said on the show.

Roberts revealed her illness in June and started medical leave in August.

(Reporting by Eric Kelsey, editing by Jill Serjeant and Cynthia Osterman)

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Broadway Motown musical features civil rights, love story

NEW YORK (Reuters) – Motown founder Berry Gordy Jr. watched with approval on Thursday as the cast of upcoming Broadway show “Motown: The Musical” tore through the storied record label’s hits at a 42nd Street rehearsal studio.

The show traces Gordy’s rise from a struggling boxer and autoworker to a music mogul who made stars of Smokey Robinson, Diana Ross, The Temptations, Stevie Wonder, Marvin Gaye, The Jackson 5 and others.

“So many other people were telling the story in different ways who were never there and never understood it, just for the sake of exploitation,” Gordy, 83, a producer of the show, told Reuters.

The media preview featured hits ranging from The Contours’ “Do You Love Me” – sung as a segregated audience in Birmingham, Alabama, breaks through a rope to hear the group – to “Dancing in the Street” by Martha and the Vandellas.

Director Charles Randolph-Wright, who grew up in South Carolina in the 1960s, said Motown was in his DNA.

“Motown opened the emotional door to the civil rights movement,” he told Reuters. “Motown is the thing that brought people together. We started dancing to the same music and listening to the same music.”

Gordy’s relationship with Ross – the couple had a daughter together – is shown beginning in Paris, to the hit “My Girl” by The Temptations.

“That’s the love story in our show,” Randolph-Wright said.

The musical begins previews on March 11 and officially opens on April 14. It features a book by Gordy and music and lyrics from the Motown catalog.

Although the show is from Gordy’s perspective, it doesn’t duck some of the criticism that surrounded him, especially in Motown‘s early days, Randolph-Wright said.

As Gordy explained: “At one time, people were feeling that how could a black kid from Detroit do a Motown without being a crook, without being in the Mafia, without being something bad, because it was such a big endeavor.”

Gordy, the creator of what was once the largest black-owned business in the United States, was an inspiration to him, Randolph-Wright said.

“Berry Gordy was someone who had his own company, who literally changed the world with what he did,” he said. “And to see that, it gave me and so many people like me – black, white, whatever color – that gift of possibility.”

Brandon Victor Dixon, who plays Gordy, said it was “hard to have a greater honor than having Berry Gordy respect you as an artist.”

Valisia LeKae, who appeared in “The Book of Mormon,” plays Ross. “It is the soundtrack of people’s lives,” LeKae said of the music. “I definitely expect people to sing along.”

(Reporting By Noreen O’Donnell, editing by Jill Serjeant and Xavier Briand)

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NBC Universal reshuffles, Hammer takes over cable networks

(Reuters) – Longtime NBC Universal executive Bonnie Hammer will soon be running all of the media company’s cable networks besides sports and news, as part of a reshuffling, NBC‘s CEO Steve Burke said on Monday.

In a memo to staff, Burke said that starting immediately, Hammer will oversee the entire cable portfolio, including Bravo and Oxygen, which are cable networks previously controlled by Lauren Zalaznick. The new unit, which also includes USA Network, SYFY and E!, will be renamed the cable entertainment group.

Burke said this new division will “represent approximately 50 percent of the company’s operating cash flow.”

In the first three quarters of 2012, NBC generated $ 2.9 billion in operating cash flow. Comcast, which has been the majority owner of NBC since 2011, will report its fourth quarter and full year results on February 13. Cable networks, including sports and news channels overseen by other executives, by far generates the most revenue and profit at NBC Universal.

“I know that with this structure Bonnie and her team will maximize the power and profitability of this portfolio,” Burke said in the memo.

Zalaznick, who will no longer run any cable networks, will become the executive vice president of NBC Universal and will focus on digital initiatives such as “TV Everywhere” as well as “windowing strategies,” which means how soon to make shows available on the Internet after they air on television. She will continue to oversee NBC’s digital assets such as movie ticketing website Fandango.

NBC also said that Joe Uva, a former Univision executive, will become Chairman of Hispanic Enterprises and Content in April, a newly created position. UVA, along with Hammer and Zalaznick will report to Burke.

The moves come a few days after NBC News President Steve Capus said he would be leaving the network after struggles at the unit, including lower ratings for its flagship morning TV show, “Today.”

(This version of the story changes the last word in second paragraph to reflect that new unit name will be “cable entertainment group” and not “cable entertainment business.”)

(Reporting By Liana B. Baker; Editing by Marguerita Choy)

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Beyonce electrifies at Super Bowl halftime show

If naysayers still doubted Beyonce‘s singing talents — even after her national anthem performance this week at a press conference — the singer proved she is an exceptional performer at the Super Bowl halftime show.

Beyonce opened and closed her set belting songs, and in between she danced hard and heavy — and better than most contemporary pop stars.

She set a serious tone as she emerged onstage in all black, singing lines from her R&B hit “Love on Top.” The stage was dark as fire and lights burst from the sides. Then she went into her hit “Crazy In Love,” bringing some feminine spirit to the Superdome as she and her background dancers did the singer’s signature booty-shaking dance. Beyonce ripped off part of her shirt and skirt. She even blew a kiss. She was ready to rock, and she did so like a pro.

Her confidence — and voice — grew as she worked the stage with and without her Destiny’s Child band mates during her 13-minute set, which comes days after she admitted she sang to a pre-recorded track at President Barack Obama‘s inauguration less than two weeks ago.

Beyonce proved not only that she can sing, but that she can also entertain on a stage as big as the Super Bowl’s. The 31-year-old was far better than Madonna, who sang to a backing track last year, and miles ahead of the Black Eyed Peas’ disastrous set in 2011.

Beyonce was best when she finished her set with “Halo.” She asked the crowd to put their hands toward her as she sang the slow groove on bended knee — and that’s when she the performance hit its high note.

“Thank you for this moment,” she told the crowd. “God bless y’all.”

Her background singers helped out as Beyonce danced around the stage throughout most of her performance. There was a backing track to help fill in when Beyonce wasn’t singing — and there were long stretches when she let it play as she performed elaborate dance moves.

She had a swarm of background dancers and band members spread throughout the stage, along with videotaped images of herself dancing that may have unintentionally played on the live-or-taped question. And the crowd got bigger when she was joined by her Destiny’s Child band mates.

Kelly Rowland and Michelle Williams popped up from below the stage to sing “Bootylicious.” They were in similar outfits, singing and dancing closely as they harmonized. But Rowland and Williams were barely heard when the group sang “Independent Woman,” as their voices faded into the background.

They also joined in for some of “Single Ladies (Put a Ring On It),” where Beyonce‘s voice grew stronger. That song featured Beyonce‘s skilled choreography, as did “End of Time” and “Baby Boy,” which also showcased Beyonce‘s all-female band, balancing out the testosterone levels on the football field.

Before the game, Alicia Keys performed a lounge-y, piano-tinged version of the national anthem that her publicist assured was live. The Grammy-winning singer played the piano as she sang “The Star Spangled Banner” in a long red dress with her eyes shut.

She followed Jennifer Hudson, who sang “America the Beautiful” with the 26-member Sandy Hook Elementary School chorus. It was an emotional performance that had some players on the sideline on the verge of tears. Hudson also sang live, her publicist said.

The students wore green ribbons on their shirts in honor of the 20 first-graders and six adults who were killed in a Dec. 14 shooting rampage at the school in Newton, Conn.

The students began the song softly before Hudson, whose mother, brother and 7-year-old nephew were shot to death five years ago, jumped in with her gospel-flavored vocals. She stood still in black and white as the students moved to the left and right, singing background.

___

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Beyonce says sang along to pre-recorded track at inauguration

NEW ORLEANS (Reuters) – Singer Beyonce said she sang along to a pre-recorded track at the inauguration of President Barack Obama, but delivered a stirring a cappella version of the U.S. national anthem at a Super Bowl news conference on Thursday.

She also said would be singing live at the half-time show of the National Football League championship game between the San Francisco 49ers and Baltimore Ravens at the Superdome on Sunday.

Beyonce‘s performance of the “Star-Spangled Banner” at the January 21 inauguration ceremony sparked a debate over whether she had lip-synched her performance in Washington.

“I am a perfectionist and one thing about me is that I practice until my feet bleed and I did not have time to rehearse with orchestra,” the Grammy-winning artist said on Thursday.

“It was a live television show and a very, very important emotional show for me and one of my proudest moments, and due to the weather, to the delay, due to no proper sound check, I did not feel comfortable taking the 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 am very proud of my performance,” she said.

Beyonce, 31, one of pop music’s biggest celebrities, surprised the media on Thursday by asking them to rise at the start of her news conference and launching into a solo version of the U.S. national anthem.

After the applause in the room died down, she asked the hundreds of media representatives, “Any questions?”

Asked if she planned to sing live during the Super Bowl game, annually one of the most-watched TV events in the United States, the singer said: “I will absolutely be singing live. This is what I was born to do, it is what I was born for.”

The NFL also said that Jennifer Hudson would perform “America the Beautiful” with the chorus from Sandy Hook Elementary School in Newtown, Connecticut, where 20 children and six adults were killed in a mass shooting in December.

Alicia Keys will sing the national anthem before the game’s kickoff, while other artists, including OneRepublic and Matchbox Twenty, will be part of the televised pregame show.

(Editing by Jill Serjeant and Peter Cooney)

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