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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Michael Moore on “5 Broken Cameras” director’s LAX ordeal: It doesn’t compare to Palestinians’ “daily humiliation”

LOSD ANGELES (TheWrap.com) – Michael Moore said that Oscar-nominated Palestinian filmmaker Emad Burnat‘s ordeal with immigration officials on Tuesday demonstrates that the United States is overly strict when it comes to greeting foreign visitors, particularly people of color.

“If he’d been a white guy he wouldn’t have to go through that in our ‘post-racial’ America,” Moore, the Oscar-winning director of “Bowling for Columbine,” told TheWrap via email.

Burnat, whose film “5 Broken Cameras” is up for a Best Documentary Academy Award, was held for questioning by immigration officials at Los Angeles International Airport and was asked to produce evidence that he was, indeed, invited to attend Sunday’s ceremony. The director and his family were grilled for an more than an hour, he said, while authorities repeatedly suggested he might be sent back to his native country.

Moore, who is a governor in the Academy’s documentary branch and an outspoken supporter of Burnat’s film, intervened after receiving a text message from the director.

On his blog, Moore wrote that he contacted officials at the Academy of Motion Picture Arts & Sciences, which produces the Oscars, who in turn enlisted the organization’s attorney. Moore called the State Department in Washington and told Burnat to have the officials call him so he could verify that he was an Oscar nominee and shouldn’t be deported.

“5 Broken Cameras” centers on a Palestinian farmer who lives on the border of an Israeli settlement, and both Burnat and Moore likened the questioning by officials to the daily experience of living under an often oppressive regime.

“Although this was an unpleasant experience, this is a daily occurrence for Palestinians, every single day, throughout the West Bank,” Burnat said in a statement to TheWrap. “There are more than 500 Israeli checkpoints, roadblocks, and other barriers to movement across our land, and not a single one of us has been spared the experience that my family and I experienced yesterday. Ours was a very minor example of what my people face every day.”

Moore echoed those statements in an interview with TheWrap and also spoke about “5 Broken Cameras” chances of victory at the Oscars where it will go up against such acclaimed documentaries as “How to Survive a Plague” and “Searching for Sugar Man.”

What does Burnat’s detention say about the way we our country treats foreign visitors?

We have reacted with unnecessary paranoia and as a result foreign visitors first encounter with an American – the immigration officer – is not that pleasant.

Are there parallels between his treatment and that of Palestinians in the West Bank?

He has spoken to this point in his statement today. What happened at LAX last night is actually pretty minor compared to the daily humiliation he and others suffer in the Palestinian territories.

Do you think Burnat is owed an apology by Immigration officials?

Yes.

Assuming he won’t get one, I’ve already apologized on behalf of the rest of us.

You said on Twitter that part of the problem was that immigration officials could not believe a Palestinian was nominated for an Oscar – why do you believe that?

I was being slightly sarcastic. But I’m sure if he’d been a white guy he wouldn’t have to go through that in our “post-racial” America.

Do you think “5 Broken Cameras” Oscar chances are?

Thanks to the changes the Doc branch made this year where everyone in the branch got to vote to select the five nominees, the five nominated films are some of the best work we’ve seen in years. And now that we convinced the Academy to let all 6,000 members vote, I’d say the race is too close to call.

What is your critical assessment of the film?

This is not only one of the best docs of the year, it’s one of the best movies. It’s a powerful film, co-directed by a Palestinian and an Israeli. It’s the first Palestinian film to be nominated for Best Documentary. That makes it an historic moment for the Academy and for movie lovers everywhere. For that alone, he should have receives roses and an official welcome at LAX, not the detention room.

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AMPAS drops “85th Academy Awards” – now it’s just “The Oscars”

LOS ANGELES (TheWrap.com) – The upcoming Academy Awards show is the 85th, a significant anniversary that in past years might have brought a reunion of past winners, special film clips or some sort of recognition on the Oscar show.

But this year, the number 85 has been quietly retired, and so has the phrase “Academy Awards.”

Both disappeared from official AMPAS materials about three weeks ago. “We’re rebranding it,” Oscar show co-producer Neil Meron told TheWrap on Monday. “We’re not calling it ‘the 85th annual Academy Awards,’ which keeps it mired somewhat in a musty way. It’s called ‘The Oscars.’”

During TheWrap’s interview with Meron and his partner Craig Zadan, Meron said they were under the impression that the new approach would continue in the future.

Academy spokeswoman Teni Melidonian confirmed that the change has happened for the upcoming show, but described it as the kind of typical adjustment in the ad campaign and overall message that takes place every year in consultation with the show’s producers and the network, ABC.

“It is right for this show, but we could easily go back to using ‘Academy Awards’ next year,” she said.

The majority of the show’s posters and advertising materials focus on host Seth MacFarlane and the phrase “The Oscars,” with no mention of how long the Academy has been hosting this shindig and no use of the phrase “Academy Awards.”

And Academy press releases dealing with the upcoming show, which used to routinely mention the number, stopped doing so around the beginning of February. The last such AMPAS release appears to have come on January 29; since then, every release has found ways to avoid the phrase “85th Academy Awards.”

When initial voting began, for example, the Academy’s December 14 release began, “Nominations voting for the 85th Academy Awards will open at 8 a.m. PT, Monday, December 17 … “

But when final voting began seven weeks later, its release said this: “Final voting for the Oscars will officially open on Friday, February 8th at 8 a.m. … “

The phrase “The 85th Academy Awards,” which used to begin the last paragraph of most Oscar-related press releases from the Academy, has been replaced with “Oscars for outstanding film achievements of 2012.”

It’s hard to say that the Academy is completely turning its back on its history, given that this year’s show includes a celebration of the 50th anniversary of the James Bond movies and a tribute to movie musicals of the past decade. But it is consciously (if quietly) looking not to use a big round number when trying to woo viewers closer to the age of Quvenzhane Wallis (9) than Emmanuelle Riva (85), and trying to get less formal by making the show’s nickname its official name.

“It’ll be like the Grammys,” said Meron. “The Grammys don’t get a number, and neither will the Oscars.”

He’s not exactly right: The top of the Recording Academy’s Grammy page (right) is headed, “The 55th Grammys,” and the number appears in the first sentence of most NARAS press releases.

The Oscar.com page, on the other hand, just says “The Oscars.”

For this year, at least.

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Romanian cinema triumphs again with top Berlin award

BERLIN (Reuters) – Romania claimed another major scalp on the European film festival circuit this weekend when “Child’s Pose” won the Golden Bear in Berlin, underlining the country’s emergence as a powerhouse of hard-hitting cinema in the post-Communist era.

The film, directed by Calin Peter Netzer, tells the story of Cornelia, an obsessive mother who uses every trick in the book to prevent her son from going to jail after he kills a boy in a car accident.

It is the latest in a long list of critical hits that have enjoyed startling success at festivals like Berlin and Cannes in recent years, helping to bring Romania‘s cinema to a wider audience.

Some of Romania‘s top directors, who have enjoyed the artistic freedom that flourished after the death of Communist dictator Nicolae Ceausescu in 1989, dismiss talk of a cinematic “new wave”, saying it lumps together very different styles and stories.

But ever since Cristi Puiu’s “The Death of Mr. Lazarescu” hit Cannes in 2005, and two years later his compatriot Cristian Mungiu won the coveted Palme d’Or there for the harrowing abortion drama “4 Months, 3 Weeks and 2 Days”, Romanian cinema has been firmly on the map.

“It is an acknowledgement, I think, that Romanian cinema is still producing good quality cinema and has been for a few years and it is a good endowment that it is still like this,” Netzer told Reuters after receiving the Golden Bear for best film.

UNFLINCHING STORYTELLING

While each film differs, there is a common thread of unflinching storytelling and compelling human drama often laid out against the backdrop of a cold and uncaring society.

Netzer said “Child’s Pose” was not a critique of Romania today, despite its unflattering portrayal of flashy materialism and casual corruption among the nouveau riche.

“I think basically this is about a relationship, a kind of pathological relationship between mother and son,” he told reporters in Berlin after the closing ceremony late on Saturday.

“The rest – the corruption, the framework, the context, all of that is on a separate level and is really only a backdrop.”

Victory in Berlin is likely to give the movie a major boost in terms of distribution in Romania and beyond, although some critics wondered whether the alienating figures of both mother and son might limit its appeal.

“There’s an instant bond the audience has with the two young women in ’4 Months…’ which we are deliberately not supposed to have in ‘Child’s Pose’,” said Jay Weissberg, critic at trade publication Variety.

“The mother is a monstrous figure and her son is even worse.”

However he, like many others, was impressed by Luminita Gheorghiu’s portrayal of Cornelia, one of several standout performances in Berlin-nominated films by mature actresses making the most of the kind of parts rarely written in Hollywood.

Paulina Garcia was the popular winner of the best actress Silver Bear for her turn in Chilean film “Gloria”, in which she plays a 58-year-old divorcee who sets out to live life to the full despite her setbacks.

“We all face crossroads in our lives where we can retreat into ourselves or we can hit the dance floor,” said “Gloria” director Sebastian Lelio of his character.

The biggest surprise at the Berlin awards ceremony was the best actor prize going to Nazif Mujic, a Bosnian Roma who had never acted before and had to be talked into playing himself in a drama based on his real-life ordeal.

“An Episode in the Life of an Iron Picker”, made for just 30,000 euros ($ 40,000), tells the story of how Bosnian hospitals refused to operate on his wife after she miscarried because she was not insured, despite the fact that her life was in danger.

Best director went to U.S. filmmaker David Gordon Green for his quirky road movie “Prince Avalanche” and 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 honour.

(Reporting by Mike Collett-White; Editing by Andrew Heavens)

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Travis Barker skips Blink-182 Australia tour due to flying fear

(Reuters) – Travis Barker will skip the Australian tour of pop-punk band Blink-182, citing a long-term fear of flying that worsened after he survived a fatal crash nearly five years ago that killed two friends.

“I’m sorry to announce I won’t be joining Blink-182 on this Australian tour,” Barker, 37 and drummer for the group, wrote on Facebook. “I still haven’t gotten over the horrific events that took place the last time I flew when my plane crashed and four people were killed, two being my best friends.”

Barker was one of two survivors of the 2008 crash when a private plane he was on burst into flames during an aborted takeoff. He spent several months in hospital with injuries.

Barker said he had hoped to get to Australia by ship if need be for the tour, which starts on Wednesday in Sydney, but that schedules hadn’t worked out.

“Once again, I’m sorry to all the fans,” he said.

The band, also writing on Facebook, said Barker would be replaced on the tour by Brooks Wackerman from Bad Religion and Tenacious D.

“The band knew the chances of Travis overcoming his fear of flying, which was magnified after the horrible plane crash of 2008, would be a challenge, but we wanted to play for our fans in Australia nonetheless,” they said, adding that cancelling the tour had not been an option.

(Reporting by Elaine Lies; Editing by Paul Tait)

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Epic to pull song with offending Lil Wayne lyric

NASHVILLE, Tenn. (AP) — Epic Records is going to “great efforts” to take down a new Future remix leaked over the weekend with a vulgar Lil Wayne lyric that has offended the family of Emmett Till.

The New Orleans rapper made a sexual reference to the beating death of Till, a 14-year-old Chicago boy tortured and shot in Mississippi in 1955 for whistling at a white woman. Till’s family objected and the Rev. Jesse Jackson reached out to his management, The Blueprint Group, on the family’s behalf.

The label issued a statement Wednesday night apologizing for the release of the song.

“We regret the unauthorized remix version of Future’s ‘Karate Chop,’ which was leaked online and contained hurtful lyrics,” the statement said. “Out of respect for the legacy of Emmett Till and his family and the support of the Reverend Jesse L. Jackson, Sr. … we are going through great efforts to take down the unauthorized version.”

Epic will release an official version of the song that “will not include such references.”

Neither Jackson nor members of Till’s family could be reached late Wednesday. A publicist says Lil Wayne has had no comment so far.

He appears briefly on the song, alluding to the black teenager’s beating in a way too vulgar to print.

Till, a native of Chicago, was in Mississippi visiting family in 1955 when he was killed. He was beaten, had his eyes gouged out and was shot in the head before his assailants tied a cotton gin fan to his body with barbed wire and tossed his body into the Tallahatchie River. Two white men, including the woman’s husband, were acquitted of the killing by an all-white jury.

Till’s body was recovered and returned to Chicago where his mother, Mamie Till, insisted on having an open casket at his funeral. The pictures of his battered body helped push civil rights into the cultural conversation in the U.S.

Bob Dylan wrote a song about it: “The Death of Emmett Till.”

A Facebook posting on the Mamie Till Mobley Memorial Foundation page Wednesday night said Epic Records Chairman and CEO LA Reid had reached out to the family to personally apologize.

___

Follow AP Music Writer Chris Talbott: http://twitter.com/Chris_Talbott

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NBC pulls ‘Do No Harm’ after 2 low-rated episodes

LOS ANGELES (AP) — NBC is pulling the drama series “Do No Harm” after two low-rated episodes.

The show is a take on the story of Dr. Jekyll and Mr. Hyde, and stars Steven Pasquale of “Rescue Me.” He plays a respected neurosurgeon who turns into a dangerous alter ego each night. Other cast members include Alana De La Garza and Phylicia Rashad.

“Do No Harm” started with a historically small audience for a major network debut and then dropped further in its second Thursday airing.

NBC will replace “Do No Harm” with reruns of “Law & Order: Special Victims Unit” for the next two weeks.

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Kino Lorber Acquires Marcia Gay Harden Comedy ‘if i were you’

NEW YORK (TheWrap.com) – Kino Lorber has acquired domestic distribution rights to “if i were you,” Joan Carr-Wiggin‘s comedy starring Marcia Gay Harden, Leonor Watling and Aidan Quinn.

Kino Lorber will release the film in select cities March 15, but Gravitas Ventures and Warner Bros. Digital Distribution will make it available February 11 for on-demand and other digital outlets like iTunes.

Kino Lorber CEO Richard Lorber described the film as a “charming, smart and very funny look at the unexpected places life can take us.”

Marcia Gay Harden’s virtuosity and emotional mastery as an actress have never been put to better use as she and Leonor Watling escalate hilarious complications in this refreshing female-driven comedy,” he said in a statement.

The film follows Madelyn Reid (Gay Harden), who discovers her husband has been cheating on her when she saves his mistress (Watling) from a failed suicide attempt. The two then become friends, and also decide to follow one another’s advice on everything.

Lorber negotiated the deal with producer David Gordian of Paragraph Pictures.

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Selena Gomez works the front row at Neo show

NEW YORK (AP) — Selena Gomez sat front and center at the fashion show to preview the first collection in her collaboration with Adidas‘ streetwear Neo label.

But the runway at Wednesday evening’s show was a next-gen catwalk: Teenager bloggers were charged with styling the outfits instead of industry professionals.

Gomez thanked them as she stood on stage at the end of the show. She was flanked by models in denim shorts, Bermudas, slouchy sweats and T-shirts that read “Pirate Love.” There were a few graffiti prints sprinkled in, and some varsity jackets.

The clothes, mostly in sunny yellow, bright pink and navy, were more surf than sport, which is Adidas’ normal niche.

The show was very briefly interrupted by a protester trying to hand out leaflets about sweatshops.

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NJ Gov. Christie, Letterman laugh about fat jokes

TRENTON, N.J. (AP) — New Jersey Gov. Chris Christie and David Letterman have shared some laughs about the many fat jokes the comedian has made about the lawmaker’s ample girth.

Christie has termed his plumpness “fair game” for comedians. And during his first appearance on “Late Show with David Letterman” on Monday, the outspoken Republican and potential 2016 presidential contender read two of Letterman‘s jokes that he said were “some of my personal favorites.”

The governor also drew loud laughs when he pulled out a doughnut and started eating it while Letterman asked him if he was bothered by the digs that have been made about his weight. Christie said he wasn’t, noting that he laughs at the jokes if he finds them funny.

“Late Show” airs on CBS at 11:35 p.m. Eastern time.

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Power outage electrifies CBS Super Bowl broadcast

NEW YORK (AP) — When the lights went out at the Super Bowl, CBS’ telecast got a jolt.

The power outage in the Super Dome in New Orleans sent the network scrambling and silenced its announcers for about half an hour. The remarkable scene — probably the most-watched “we’re having technical difficulties” moment in television history — also made CBS’ broadcast compelling at a time when the game was looking like a blow-out.

Early in the game’s second half, a portion of the Superdome lost power, including CBS’ broadcasting booth where Jim Nantz and Phil Simms were calling the game. It led to an awkward, ambient few moments of darkness and quiet in a broadcast that’s otherwise nonstop noise. A highly orchestrated media event was suddenly forced to improvise.

It took several minutes and numerous commercial breaks for CBS to find its footing and inform viewers of the situation. Social media went wild with a stream of joke conspiracy theories.

Eventually, CBS sideline reporter Steve Tasker — the MVP on the night, regardless of the play on the gridiron — announced the problem of a “click of the lights” to viewers. Later, the halftime crew anchored by host James Brown returned to fill time with football analysis. Brown said a power surge caused the outage.

That left the CBS NFL Today crew of Brown, Dan Marino, Bill Cowher and Shannon Sharpe to improvise by talking football. With little awareness of the power outage, the group bantered about the game to pad for time, even though viewers at that point had little interest in football strategy. Marino claimed halftime performer Beyonce knocked the lights out.

Calm and collected, Nantz and Simms finally returned from their unexpected exile as the lights came back on. Simms said he momentarily thought they were going to have to call the rest of the game from the sidelines.

“Hey, the next time you decide to plug in your phone charger, give us a warning, will you?” said Nantz.

“I was doing some of my best work during that blackout,” replied Simms.

CBS issued a statement later in the game, saying that “we lost numerous cameras and some audio powered by sources in the Super Dome.” The network said it used backup power and that “all commercial commitments during the broadcast are being honored.”

The power outage may have had the ironic effect of keeping viewers glued to their TVs, amazed at seeing the biggest TV event of the year momentarily shut down. At the time of the outage, the game was becoming a rout, with the Baltimore Ravens beating the San Francisco 49ers 28-6.

But afterward, momentum shifted and the 49ers rallied, making it a close game that went down to the wire before the Ravens edged out a 34-31 victory. Close contests are essential for retaining a big Super Bowl audience, so the shift that followed the outage held major ratings implications for CBS. The last three years, the game has successively set viewership records. Last year’s Super Bowl drew 111.3 million average viewers for NBC.

But ratings are a mere point of pride for CBS, with the ads sold-out well in advance, (some at more than $ 4 million a pop). The game was also streamed live on both CBSSports.com and NFL.com.

The chaos of the power failure outshined all other aspects of CBS’ broadcast, which had seemed certain to focus on a handful of storylines: the head coaching brothers John and Jim Harbaugh (CBS scored their parents on the pregame); the threat to player safety by head injuries (a pregame segment took an optimistic view); and Ray Lewis’ final game and fraught legacy.

Nantz reminded viewers during the game of the 2000 double murder case in which Lewis testified against two men and pleaded guilty to a misdemeanor charge of obstruction of justice. But Sharpe, Lewis’ former teammate, let him completely evade the subject in a pregame interview.

Nantz also smartly predicted the Ravens possibly taking a safety willingly at the end of the game for the sake of time and field position. Simms initially dismissed the idea, but it was what the Ravens elected to do and it was successful.

CBS didn’t overplay the Harbowl angle (if anything, it felt more like the Beyonce Bowl), and didn’t flash to the parents in the crowd until the second quarter. Director Mike Arnold did land the money shot of the game: The two coaches embracing at midfield after the game. (Its cameras and microphones also caught Ravens quarterback Joe Flacco celebrating with profanity.)

But this year’s Super Bowl broadcast will be remembered for the blackout — how CBS handled and benefited from an awkward situation. Nantz put the fitting final word on the Ravens’ win: “The adversity they faced tonight was to somehow rekindle the energy after it had been taken — literally — out of the building.”

___

Follow AP Entertainment Writer Jake Coyle on Twitter at: http://twitter.com/jake_coyle

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Mark Wahlberg, Ted to Present at Oscars

LOS ANGELES (TheWrap.com) – Mark Wahlberg and his teddy bear co-star “Ted” will be presenters at the Oscars, the telecast producers announced Friday morning.

The duo, stars in Oscar host Seth MacFarlane‘s comedy about a man trying to turn his immature, hedonistic lifestyle around for a woman he is dating. His indulgent teddy bear, the eponymous Ted, proves to be an obstacle in that transformation.

The film is now the highest-grossing R-rated movie of all time.

“We are happy to make it possible for Mark and Ted to make their debut appearance on the Oscar stage,” Craig Zadan and Neil Meron, the show’s producers, said in a statement. “And we won’t deny that Ted used his pull with our host to get himself the booking.”

Wahlberg has twice been nominated for Academy Awards, in 2006 for his supporting role in “The Departed,” and in 2010 as a producer of the Best Picture nominee “The Fighter.”

Wahlberg and the MacFarlane-voiced Ted share the stage with a star-studded list of Oscar performers, including singers Adele, Norah Jones and Barbra Streisand. The Oscars will be broadcast on February 24 from the Dolby Theatre at Hollywood & Highland Center.

“I’m excited to present an Oscar with Mark Wahlberg,” Ted said in the statement. “I’m spending the next month learning to pronounce ‘Quvenzhané.’”

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Former New York mayor Ed Koch moved to hospital intensive care

NEW YORK (Reuters) – Former New York City Mayor Ed Koch was moved to a hospital intensive care unit on Thursday, his spokesman said, in a sign that his health could be deteriorating.

Koch spokesman George Arzt said the 88-year-old politician, who earned a reputation for being as outspoken as he is colorful, was being moved so his cardiologist could better monitor his condition. Koch has been treated at New York-Presbyterian Hospital on and off since January 19.

Koch was re-admitted to the hospital on Monday after complaining of shortness of breath. He was unable to attend Tuesday’s premier of “Koch,” a documentary about his turbulent three terms as mayor, at the Museum of Modern Art.

In New York‘s City Hall from 1978 to 1989, Koch – with his trademark phrase “How’m I Doing?” – was seen as the personification of New York City.

“I don’t think there was anybody who had more fun being mayor as Ed Koch,” City Council Speaker Christine Quinn, who is in the race to be the city’s next mayor, said while walking the premier’s red carpet.

Koch was credited with helping to restore confidence in the city at a time when it stood at the brink of financial ruin. Under his leadership, New York City regained its fiscal footing and underwent a construction boom.

His time in office was also marked by corruption among his political allies, racial tensions, a rise in cases of AIDS and HIV, and an increase in homelessness and the crime rate.

(Reporting by Edith Honan; Editing by Ellen Wulfhorst)

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Appeals judges: Anti-paparazzi law appears legal

LOS ANGELES (AP) — An appeals panel says California’s anti-paparazzi statute appears to be constitutional based on a brief filed by prosecutors.

A preliminary statement by three judges in Los Angeles requires a judge who dismissed charges aimed at a paparazzo who authorities say was driving recklessly to review his order. The judge may stick to his ruling, which would trigger a full appeal, or he could schedule further arguments on the case against freelance photographer Paul Raef.

Raef was the first person charged under the new law after a high-speed chase involving Justin Bieber last year.

Superior Court Judge Thomas Rubinson dismissed two charges in November, ruling the law is too broad and is unconstitutional.

Raef’s attorney David S. Kestenbaum says he is asking Rubinson to stand by his ruling and allow a full appeal.

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‘How I Met Your Mother’ gets final season – and reveals the mother

NEW YORK (TheWrap.com) – “How I Met Your Mother” will be back for a ninth and final season that will reveal – finally – who the mother is.

CBS and 20th Century Fox Television announced Wednesday that the series would be back for one final go-round with series regulars Josh Radnor, Jason Segel, Cobie Smulders, Neil Patrick Harris and Alyson Hannigan, as well as series creators Carter Bays and Craig Thomas.

For eight years, viewers have wondered about the identity of the titular mother – and she will finally be revealed in the final season.

“Through eight years, ‘How I Met Your Mother’ has mastered the art of leading-edge comedy, emotional water-cooler moments and pop culture catch phrases,” said Nina Tassler, president of CBS Entertainment. “We are excited for Carter, Craig, Pam Fryman and this amazing cast to tell the final chapter and reveal television’s most mysterious mother to some of TV’s most passionate fans.”

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Lindsay Lohan’s driving case returns to LA court

LOS ANGELES (AP) — A judge who has sentenced Lindsay Lohan to jail before will conduct her first hearing Wednesday on new misdemeanor charges of lying to authorities and reckless driving against the trouble-prone actress.

Lohan has been ordered to appear before Judge Stephanie Sautner for the scheduling hearing, which is the first time the actress has been required to appear in court in nearly a year.

Prosecutors in Santa Monica, Calif., have charged Lohan with lying to police about driving a sports car that crashed into a dump truck in June, reckless driving and obstructing officers from performing their duties.

In March, Sautner released her from supervised probation but warned her to stop partying and grow up.

“You need to live your life in a more mature way, stop the nightclubbing and focus on your work,” Sautner told Lohan at the time. The admonition came after the judge conducted several monthly updates with the actress and required her to perform morgue cleanup duty to complete her sentence in a 2007 drunken driving case.

Lohan has since filmed two movies but has repeatedly gotten into trouble, including a pair of arrests in New York that have not resulted in charges.

She was on probation for theft at the time of the wreck in California, and Sautner had warned the actress she could be sentenced to 245 days in jail if she didn’t behave. She has pleaded not guilty and a Feb. 27 trial date has been set.

The latest hearing may also resolve who will be Lohan’s lawyer for the criminal case. New York attorney Mark Heller has petitioned to join the case, but his involvement must be approved by Sautner.

Heller was traveling on Tuesday and did not return a phone message.

___

Anthony McCartney can be reached at http://twitter.com/mccartneyAP

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How Fox Searchlight made the biggest deal at Sundance $9.75 million on an egg sandwich

NEW YORK (TheWrap.com) – The biggest sale at Sundance this year – “The Way, Way Back” – began with a promise and ended with a fried egg sandwich.

Producer Kevin J. Walsh, a former assistant to Scott Rudin, told the agents selling his movie that he’d make everyone food if they closed a big deal. But before he could cook, a bidding war broke out that would pit the favored Fox Searchlight against a half-dozen other studios, including Lionsgate, Paramount, Magnolia, FilmDistrict and Open Road.

Fox Searchlight won out and paid one of the highest prices for a Sundance movie in recent years – $ 9.75 million – for the story of an alienated 14-year-old (“The Killing’s” Liam James) on summer vacation.

The one big thing in their favor: Once “The Way, Way Back” premiered on Monday, everyone knew it would sell. The film not only drew a standing ovation, but almost every distributor stayed through the Q&A session with the filmmakers – a “rare” occasion, as one person close to the deal told TheWrap.

Fox Searchlight was an early starter out of the gate. It had already won an Oscar with Rash and Faxon, who co-wrote Alexander Payne’s “The Descendants.”

And at one point it was going to produce the film, back when Shawn Levy was going to direct and it was called “The Way Back.” Rash and Faxon’s script had charted on the 2007 Black List, which ranks the industry’s favorite unproduced screenplays.

The project stalled. Levy moved on to other films, and the script bounced around until Walsh came aboard as producer and decided Faxon and Rash should direct.

In hopes of sealing the deal, Searchlight sent more than a dozen of its executives to the Sundance debut, many of whom began firing off ardent emails to the filmmakers after they had seen it.

“They came wanting to love that movie, and they were going overboard in an impressive way,” a person with knowledge of the deal told TheWrap. “Multiple people at the company talked about how much they loved the film. It still didn’t mean they’d get it. Sometimes you have a distributor who does all that to justify lowballing.”

But Searchlight didn’t have a clear field. As the filmmakers attended an after party at the Grey Goose Blue Door on Main Street, several other distributors circled. These ranged from the massive, Paramount and Warner Bros., to the very large Lionsgate, to the medium-sized FilmDistrict, Open Road and Magnolia.

Another factor was that rival agencies CAA and WME had to play nice. The movie was written and directed by CAA‘s Faxon and Rash and stars WME clients Steve Carell and Toni Collette.

Around 7 p.m., the dealmakers retired to the WME house, where the discussions began. Alexis Garcia, Deb McIntosh and Graham Taylor from WME would handle the deal with Laura Lewis and Dina Kuperstock from CAA.

“We had some in-person meetings, some phone calls and a lot of the offers were apples and oranges,” Tom Rice of Sycamore Pictures, which produced and co-financed the movie with OddLot Entertainment, told TheWrap.

Fox Searchlight was an early starter out of the gate. It had already won an Oscar with Rash and Faxon, who co-wrote Alexander Payne’s “The Descendants.”

And at one point it was going to produce the film, back when Shawn Levy was going to direct and it was called “The Way Back.” Rash and Faxon’s script had charted on the 2007 Black List, which ranks the industry’s favorite unproduced screenplays.

The project stalled. Levy moved on to other films, and the script bounced around until Walsh came aboard as producer and decided Faxon and Rash should direct.

In hopes of sealing the deal, Searchlight sent more than a dozen of its executives to the Sundance debut, many of whom began firing off ardent emails to the filmmakers after they had seen it.

“They came wanting to love that movie, and they were going overboard in an impressive way,” a person with knowledge of the deal told TheWrap. “Multiple people at the company talked about how much they loved the film. It still didn’t mean they’d get it. Sometimes you have a distributor who does all that to justify lowballing.”

But Searchlight didn’t have a clear field. As the filmmakers attended an after party at the Grey Goose Blue Door on Main Street, several other distributors circled. These ranged from the massive, Paramount and Warner Bros., to the very large Lionsgate, to the medium-sized FilmDistrict, Open Road and Magnolia.

Another factor was that rival agencies CAA and WME had to play nice. The movie was written and directed by CAA‘s Faxon and Rash and stars WME clients Steve Carell and Toni Collette.

Around 7 p.m., the dealmakers retired to the WME house, where the discussions began. Alexis Garcia, Deb McIntosh and Graham Taylor from WME would handle the deal with Laura Lewis and Dina Kuperstock from CAA.

“We had some in-person meetings, some phone calls and a lot of the offers were apples and oranges,” Tom Rice of Sycamore Pictures, which produced and co-financed the movie with OddLot Entertainment, told TheWrap.

“When we went over there, we didn’t tell them it was exclusive. But quickly getting there, it was clear they were intending to make it work as quickly as possible,” an individual close to the deal said. “And it still dragged out for several hours.”

As they haggled over numbers, the two sides moved in and out of the condo. The agents would move while Fox talked about it. The Fox team had to move when the agents wanted to call people back at the WME house.

Meanwhile, over the night, Searchlight increased its offer significantly. Making a big bet on the first-time directors, $ 9.75 million, at 4:30 a.m. it finally closed one of the richest deals in Sundance history.

“Fox Searchlight considers Jim and Nat a real part of their family,” Rice said. “They made their interest known for a long time.”

The deal done, the negotiating team headed back to the WME house to play pool, listen to music, drink champagne and down vodka. Whiskey would have been ideal given the frigid weather, but Utah’s Byzantine liquor laws had dashed the hopes of a late-night liquor run. The local whiskey from High West Distillery would have to wait.

“We didn’t plan ahead for celebrations, and it isn’t too easy to improvise in Park City,” one person there recalled.

With a couple hours until the papers would be signed, pre-planned improvisation would have to do.

And Walsh made good on his promise: Fried egg sandwiches with asparagus.

“We cracked a bottle of champagne at about 6 a.m.,” he said. Good morning.

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‘Argo’ on a roll with big win at SAG Awards

LOS ANGELES (AP) — A few weeks ago, the Oscar race looked wide open. The stately, historical “Lincoln” seemed like the safe and likely choice, with the provocative “Zero Dark Thirty” and the quirky and inspiring “Silver Linings Playbook” very much in the mix for the Academy Award for best picture.

But now, an “Argo” juggernaut — an “Argo”-naut, if you will — seems to be rolling along and gathering momentum as we head toward Hollywood’s top prize.

The international thriller from director Ben Affleck, who also stars as a CIA operative orchestrating a daring rescue during the 1979 Iranian hostage crisis, received the top honor of best ensemble cast in a movie at Sunday night’s Screen Actors Guild Awards, their equivalent of the best-picture Oscar. It’s a decent indicator of eventual Academy Awards success, with the two matching up about half the time.

The film, which also stars John Goodman and Alan Arkin as Hollywood veterans who help stage a fake movie as a cover, has received nearly unanimous critical raves and has proven to be a box-office favorite, as well, grossing nearly $ 190 million worldwide.

But “Argo” also won the Producers Guild of America Award on Saturday night, which is an excellent Oscar predictor, and it earned best picture and director statues from the Golden Globes two weeks earlier. The Directors Guild of America Awards next Saturday will help crystallize the situation even further.

The one tricky thing at work here: Affleck surprisingly didn’t receive an Academy Award nomination in the director category, which most often goes hand in hand with best picture. (There are nine best-picture nominees but only five slots for directors.) Only once in modern times has a film won best picture without a directing nomination: 1989′s “Driving Miss Daisy.” The other two times came in the show’s early years, at the first Oscars in 1929 with “Wings” and for 1932′s “Grand Hotel.”

Asked backstage at the SAG Awards what might happen when the Oscar winners are announced Feb. 24, Affleck said: “I don’t do handicapping or try to divine what’s going to happen down the road with movies.

“I didn’t get nominated as a director and I thought, ‘OK, that’s that.’ Then I remembered that I was nominated as a producer,” said Affleck, who already has an original screenplay Oscar for writing 1997′s “Good Will Hunting” with longtime friend Matt Damon. “Nothing may happen but it’s a wonderful opportunity to be on the ride and I’m really honored.”

Many of the usual suspects throughout the lengthy awards season heard their names called again Sunday night, including Daniel Day-Lewis as best actor for his intense, deeply immersed portrayal of the 16th U.S. president in “Lincoln.” Accepting the prize on stage, he gave thanks to several of his colleagues including “The Master” star Joaquin Phoenix (who did not receive a SAG nomination), Leonardo DiCaprio and Liam Neeson.

Backstage, Day-Lewis elaborated for reporters that DiCaprio urged him to stick with Steven Spielberg‘s project, which was in the works for many years.

“He said, ‘Don’t give up, he’s the greatest man of the 19th century,’” Day-Lewis said. “So this is all Leo’s fault.”

His co-star, Tommy Lee Jones, also won again in the supporting-actor category for his lacerating portrayal of abolitionist Thaddeus Stevens in Spielberg’s Civil War epic.

Anne Hathaway, the front-runner for best supporting actress at the Oscars and a winner already at the Golden Globes, won at the SAGs for her performance as the doomed prostitute Fantine in the gritty musical “Les Miserables.”

“I’m just thrilled I have dental,” Hathaway joked on stage.

But in the already-tight best actress race, Jennifer Lawrence made things a little more interesting in winning for the drama “Silver Linings Playbook.” The 22-year-old plays a damaged young widow opposite Bradley Cooper, whose character is fresh out of a mental institution. Jessica Chastain, the winner at the Golden Globes, has been her main competition as a driven CIA operative searching for Osama bin Laden in “Zero Dark Thirty.”

Lawrence said on stage that she got her SAG card at 14 — which was only eight short years ago — for a promo for the MTV reality series “My Super Sweet 16,” which she said felt like the best day of her life.

“And now I have this naked statue which means that some of you even voted for me, and that is an indescribable feeling,” she said.

On the television side, the popular PBS series “Downton Abbey” bested more established shows like “Mad Men” to win the TV drama cast award in just its first nomination. “Modern Family won the comedy cast prize for the third straight year.

And Dick Van Dyke received the guild’s life-achievement award, an honor he presented last year to his “The Dick Van Dyke Show” co-star, Mary Tyler Moore.

After receiving a lengthy standing ovation from the audience, he asked his fellow actors, “Aren’t we lucky that we found a line of work that doesn’t require growing up?”

____

Contact AP Movie Writer Christy Lemire through Twitter: http://twitter.com/christylemire

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