Friday, 27 February 2009


Interview of Nikki Finke on, by Patrick Phillips, adjunct professor in the NYU journalism department (

« I always describe myself as a journalist first and foremost. Because that's what I've always been, am, and will be. I use the same reporting methods now, only with even more transparency, that I used at the AP domestically and overseas, with Newsweek in Washington D.C., with the Los Angeles Times, with the New York Observer, and with New York magazine. My site is the daily version of my weekly newspaper column. Hence the name Deadline Hollywood Daily. »

Thursday, 26 February 2009


The stakes were high this Sunday, February 23, for the 81st Annual Academy Awards ("The Oscars"), because of the terrible ratings of last year's telecast on ABC (

So, last september, Sid Ganis - president of the Academy Of Motion Pictures Arts & Sciences (AMPAS) - gave the production of the event to Laurence Mark and Bill Condon ( Then the AMPAS asked Australian actor Hugh Jackman to host the show (

At the time your humble French servant made a cheap joke: « Wolverine: The AA’s Final Cut… ». The fact is I wanted Brit comedian extraordinary Ricky Gervais. Then I learned (how ignorant I am!) that Jackman hosted the prestigious Tony Awards - which recognize achievement in live American theatre - three times (2003-2005) and that he's a consumed entertainer.

I don't want to be trivial but the view of Hugh Jackman in a tux almost made cry the old James Bond fan I am, as he would have made an an acceptable 007 (even if Clive Owen is still my personal choice). The intro jokes were great, especially the « I'm an Australian, who played an Australian in a movie called Australia - Hosting ». And the « Next year I'll be starring in a movie called New Zealand » because of recession downsizing was brilliant.

All started rather well then came that - er, how to put it - embarassing opening number qualified by Nikki Finke as « Worst Academy Awards opening ever » ( She adds that the infamous 1989 opener with Rob Lowe and Snow White ( looks « like a masterpiece in comparison ». How cruel... But no, Snow White stays N°1. Poor Anne Hathaway, by the way...

The introduction of the nominees for the Best actress in a supporting role by five previous recipients of this category was heavy. But hearing Whoopi Goldberg saying « Your love interest is always off screen » when talking about nuns in the movies, made us wish she stayed to host. Is this line from former Hollywood Squares alumnus Bruce Vilanch - one of the authors?

One of the highlights of the evening was Tina Fey and Steve Martin for the the Best original screenplay category. Tina Fey was the best reason to watch SNL before the election, and Steve Martin is one of my childhood heroes - that's why I find Pink Panther 2 very sad. This segment was a great moment of fun but also of emotion, with the touching acceptance speech of Dustin Lance Black for Milk. Personnally, I would have given the Oscar to Martin McDonagh for In Bruges, one of the best films I've ever seen in my life of movie buff.

Simon Beaufoy (Slumdog Millionaire), winner for the Best adapted screenplay, thanked his wife « for whom repressed English writers have to write love stories because they don't really say what they mean ». Wonderful! That's why the UK is the country of Charlotte Brontë and Jane Austen.

(To be followed)

Part Two:
Part Three:


Lot of news on the corporate front, thanks to Nikki Finke's Deadline Hollywood Daily ( Nikki and her blog are in top shape, in this beginning of 2009.

« Lions, and tigers, and bears! Oh, my! »


Carl Icahn (, American Financier and Corporate raider, has increased his presence in the shareholding of Lionsgate ( Amongst the company valuable assets: the Saw horror franchise, Tyler Perry's Tyler Perry movies ( and an impressive library (

To be perfectly honest this news would leave your humble French servant totally cold if not completed by this most interesting scoop from Nikki: Mr Icahn seems to be interested by MGM too (

Now the question is: what are the intentions of Carl Icahn behind this lion agenda? A merger? Or a catalog shopping spree on both Lionsgate titles and the MGM library? As our Canadian friend Furious D (, fine connaisseur of the industry, remarks in a comment under Nikki Finke's post: « He might be thinking of adding the MGM/UA library to Lionsgate’s. As a brand MGM is good at selling history, but not as good at selling new projects » (

We all love the MGM brand, we owe Leo part of our interest for cinema. But with all the respect due to these three letters, today's MGM means the Bournish Bond franchise, the library and remakes of glorious MGM entries (Rollerball,The Taking of Pelham 123... Please watch the originals first!) As Nikki writes: « MGM may have publicized themselves as bringing back the glory days, but it was only to build the hype which could help others see the company as desirable ». Itte missa est?


Scoops unlimited for DHD... Nikki Finke has announced that Peter Chernin has decided to step down as N°2 of News Corporation - owner of Twentieth Century Fox ( « Who happens next? » asks Nikki. Your humble servant believes, like many observers, that Elisabeth Murdoch - daughter of News Corp's Rupert Murdoch - is the best qualified.

But Elisabeth Murdoch doesn't wish to enter the Board of News Corp ( With Shine Group, she has done a brilliant job building a tv production mini-empire in United Kingdom, reminding the days of ITC Entertainment. Shine owns Kudos, which is regularly mentioned on this blog.

Tuesday, 24 February 2009


Normally this is not strictly speaking in my usual professional field of interest (although this blog covers television) and I try not to react on "emotion mode". But I read on the always excellent Digital Spy website that Cerrie Burnell, a disabled presenter of the CBeebies channel (the BBC channel for children) is victim of a campaign because some parents have suggested that the young woman - born without the lower right arm - may [God, how can I even be obliged to write what follows...] "scare children" (

What scares me, for my part, is that some people can think that sort of things. Fortunately, the boss of CBeebies, Michael Carrington, and the Beeb, have expressed their support to Miss Burnell ( May I remind that when I was younger, the BBC was the home of Vision On, a funny, clever and bold program for deaf children (and the others too, it was one of my favourite shows...)

Like the Beeb, and many others, your humble French servant would like to express his support to Cerrie Burnell.


Law & Order: UK, every Monday on ITV1, is the latest television series format to be adapted outside its original territory. The phenomenon is nothing new: Hollywood tries regularly to transpose British formats on film or tv. ABC's unnecessary Life on Mars is one of the recent illustration of this "care" from the US industry, whose cloning advices must come right from Michael Drucker (1).


Sometimes, the move is reversed. Remember The Upper Hand (1990-1996), the British version of Who's the boss? And now the venerable Law & Order, monument of the franchise initiated by producer Dick Wolf on NBC in 1990. Since RCN's Yo soy Betty la fea (1999-2001), a sympathetic colombian telenovela has been succesfully sold worldwide for local remakes (like the overestimated Ugly Betty in the US, or the delicious Verliebt in Berlin, in Germany) producers seem to believe that you can sell a tv series format the same way you export Wheel of Fortune.

This is not the first time Dick Wolf manages to sell a Law & Order for local adaptation. TF1 (French television leader channel) remade through Alma, a subsidiary, Law & Order: Criminal Intent as Paris Enquêtes criminelles for a rather unimpressive result. TF1 and Alma also remade RIS Delitti Imperfetti, an Italian cop show, produced since 2004 by the Taodue company for Silvio Berlusconi’s Canale Cinque, and considered as Italy's answer to CSI.

Law & Order: UK is a joint venture between NBC Universal and Kudos, the company behind classics like Hustle or Life on Mars, or one of the most interesting British television series of 2008: The Fixer. The cast is all-star: Bradley Walsh (Coronation Street), Ben Daniels (The State within), Jamie Bamber (Battlestar Galactica), Harriet Walter (Sense and Sensibility), Bill Paterson (Sea of Souls)... and Freema Agyeman, who must have a lot of look-alike cousins in every UK tv show. And Chris Chibnall (Torchwood), as lead writer, has been given the suicidal task to transpose Law & Order for Brit audiences.


The problem is that Law & Order is probably the least transposable show in the world. Part police procedural, part court drama, it is one of the most instrinsicly American production ever made. From the ambiance reminiscent of Kojak or Homicide: Life in the Street to the so specific US legal procedure that impregnates occidental culture to the point that, in France, judges are often wrongly called "Your Honor". Worse, when you buy a format, you buy its elements: here, the intro (« In the criminal justice system, the people are represented by two separate yet equally important groups... »), the famous "Dum Dum" sound, or these so nineties on-screen captions with the place and the hour. Take these gimmicks outside the shows devised so brilliantly by Dick Wolf, add actors who try to replicate the attitudes or mannerisms of their US counterparts, and the risk is to obtain a Dead Ringers parody.

More lethal, ITV (2) should have taken care of what happened in France, as the main complain about Paris Enquêtes criminelles was the mandatory carbon copy of the original stories, seen and re-ran before the premiere of the French version. This xerox syndrom was also one of the weaknesses of the French RIS, like your humble servant pointed out in the French version of this blog, and when TF1 decided to show the excellent Italian RIS on wednesday afternoons (four years after the French adaptation) it bombed in indifference.

In December I wrote « The nomination for the "Suicide Squad Award" goes to Law & Order: UK » ( At least there's a classy "West-wingesque" (huh? I thought the main idea was to make Law & Order British) theme intro, and I read Juliet Aubrey (Primeval) guest-stars in an episode. « Sure she did it, Guv».

(1) The villain from the movie The 6th Day.
(2) By the way, I really love the ITV press kits. People at their Press office are doing a very good job (

Saturday, 21 February 2009


Nikki Finke ( will live blog the Academy Awards tomorrow for her Deadline Hollywood Daily (

While talking about people we like, our Canadian friend Furious D has decided to help Kate W. and her colleagues for the delicate moment of the Acceptance speech (

Update: « Come for the cynicism. Stay for the subversion »... ( Magnificent! My favourite: « You know the Kodak Theatre audience is starved for entertainment when a Frenchman balancing an Oscar on his chin gets the night's biggest applause ».

You didn't really think this one would go unnoticed. Did you, Nikki?

Friday, 20 February 2009


2009, Samuel Santos is an ambitious and determined Chief Inspector of the Madrid police. Violently hit by a car, he awakes 32 years before, in 1977, during the España de la Transición (Spain during the transition to democracy, two years after the death of general Franco).

Not only he's now only Inspector but he must work under the command of Chief Inspector Joaquín "Quin" Gallardo, epitome of the macho type in a sexist, homophobic police which constantly flirts with the borders of the Law. And only Ana Valverde, in charge of administrative tasks, doesn't think Santos is mad. Sounds familiar? Of course... La chica de ayer (The Girl from Yesterday) is the official Spanish adaptation of Life on Mars, the cult classic BBC television series with John Simm as Sam Tyler.

This Spanish version (a first series of 8 episodes), produced by the company Ida y Vuelta, will arrive soon on Antena 3 (Un Paso Adelante - sort of Spanish Kids from Fame) with Ernesto Alterio as Samuel, Antonio Garrido as Gallardo - the Spanish Gene Hunt, and Manuela Velasco as Ana.

Unlike the US unnecessary remake for ABC, the idea of a Spanish Life on Mars is naratively very attractive - with the cultural clash between the 2009 cop and the Police force in a Spain at the beginning of the post-Franco era. This Spanish historical and cultural input could make La chica de ayer (in reference to a standard by the band Nacha Pop) far more interesting than its US counterpart. And Spain did a rather good job on its adaptation of RIS Delitti Imperfetti (RIS Cientifica, for Telecinco) - the Italian answer to the CSI franchise.

La chica de ayer on the Antena 3 website:

Some first impressions (in Spanish):

Wednesday, 18 February 2009


An instructive, warm, open and humourous discussion between Russell T. Davies, screenwriter and producer, Head of the Doctor Who franchise, and journalist Benjamin Cook - regular contributor to Radio Times and Doctor Who Magazine. This conversation, through e-mails, takes place between February 2007 and March 2008, at a most decisive period for the hit television series and its spin-offs.


« Renewed? Have I? That's it, I've been renewed. It's part of the TARDIS. Without it I couldn't survive. » (The Second Doctor, Power of the Daleks, 1966)

In 1963 Sydney Newman, Head of Drama at the BBC, decides to launch an educational sf tv series for kids about a mysterious grumpy old man of alien origins called The Doctor, who travels with human companions in space and time in a police blue box - bigger in the inside than the outside. Newman asks a brilliant young woman named Verity Lambert to produce the series. After the first serial, she believes it's crucial to go on with a more spectacular story, and choses in spite of the reluctance of Donald Wilson, BBC Head of Drama serials, a script by Terry Nation where The Doctor and his companions face evil pepper pot looking robots: The Daleks.

This smart move makes the show very popular, but it's a simple idea which will confer to Doctor Who an extraordinary longevity: in 1966 William Hartnell, the actor playing the Doctor, must leave the series. The producers and the story editor decide to "regenerate" their grumpy old character into a kind of chaplinesque hobo played by Patrick Troughton. Five more actors will follows his steps (with different costumes, personalities and companions), until the cancellation in 1989 of what became through the years a true British institution.

Doctor Who is briefly resurrected for the US Network Fox in 1996, with a made-for-TV movie produced by the BBC and Universal Television. Then a feature film project is considered but in 2003 the Corporation believes it's about time for a real return of the Doctor on television. Welsh producer Julie Gardner, BBC Wales Head of Drama, is called by Jane Tranter, BBC Drama controller, who offers her to helm a new version of Doctor Who. Gardner calls Swansea-born scriptwriter and producer Russell T. Davies - creator of classics like Queer as Folk, Bob & Rose or The Second coming - whom she worked with on Casanova (with David Tennant as young Giacomo Casanova).


« Did you ever, ever think that Doctor Who would be this important to the BBC? That's the maddest thing of all, and the best thing of all. » (Russell T. Davies to Benjamin Cook)

The new Doctor Who is launched in March 2005. Four seasons, two spin-off shows (Torchwood and The Sarah Jane Adventures), two stars - Christopher Eccleston and David Tennant - and a special later, nu-Who lives up to the cult status of the classic series as the flagship of the quality of British television all over the world. The show has become the main profit magnet of BBC Worldwide, the Beeb's commercial branch, and sparks every day gazillion of words in rumours, news, comments and analysis on internet websites and forums, and in the press.

Doctor Who: The Writer's Tale, is build around an e-mail correspondence between Russell T. Davies, showrunner and lead scriptwriter of Doctor Who, and journalist Benjamin Cook, and starts in February 2007 when Cook projects a magazine article about the writing process of one or two Doctor Who episodes by Davies, and beyond that, about the exploration of the « painstaking creation process ». The scribe gracefully accepts but « there's little physical evidence of the script process to show you. No notes. I think, and think and think...» The thought process is precisely what interests Cook and they begin what Davies nicknames The Great Correspondence (« ...we might even get a book of it »).

According to Benjamin Cook, the weight of expectation seems to be what compels Russell T. Davies to write. And expectations are higher than ever in this beginning of 2007, after the summits reached by series three (the best season to date) and before the mandatory Über-huge scaled Christmas special (aptly pitched as « Titanic in Space crossed with The Poseidon Adventure! ») - highlight of the Christmas holiday break for both Who fans and UK viewers in general.


« There will be no Doctor Who this year. Russell was too busy e-mailing Ben. » (Benjamin Cook)

Illustrated by script pages, magnificent photos never seen before, notes, text messages, beautiful artwork and Davies' own cartoons (1), Doctor Who: The Writer's tale is the All Access pass to nu-Who backstage, a Doctor Who Confidential (the companion series to Who) with feelings. The exploration of what drives one of the most prominent screenwriters of this century when he creates for one of the most popular contemporary television franchise. Writing is the core of the production of a tv series in United Kingdom (, which at this level could suffice to make The Writer's tale a document of the greatest interest.

« It all exists in this great big stew in my head because any story can go in any direction. It's not what you write, it's what you choose - and I'm good at choices ». Turn left? Cook embarks pour a privileged journey into the daily choices of the Master mind on every aspect of the preparation and the shooting of Doctor Who's fourth series: the introduction of the Doctor's new companion (Penny?) but « Can we bring back Donna [Noble, played of course by Catherine Tate] for a few episodes » - asks Jane Tranter, the guest stars for the special (David Jason or the Dennis Hopper? Kylie Minogue... « Yes. Kylie Minogue! Ha ha ha ha »), a World War II script by Mark Gatiss, late scripts for The Sarah Jane Adventures, the annual return of a nemesis of the team from Torchwood, a "too Primeval" Alien race, etc... When arrives the subject of Russell T. Davies turning down the offer of a fifth series (« It's not about the money, and Jane and Julie [Gardner] both know that »), the book becomes gradually the day-to-day chronicle of the Year of living dangerously for the hottest British television program.


« The idea behind this book, then, was to find out exactly what it's like to live, and write, under such a weight of expectation » (Benjamin Cook)

Weight is the perfect word to summarize how much the charge of the destiny of such an iconic character as The Doctor, with almost half a century of History, can be a burden. First the weight of fandom, of those Davies once called rather unfortunately "ming-mongs". « I've been browsing Outpost Gallifrey to read how crap I am »... Russell T. Davies seems to have an issue with Outpost Gallifrey (, as he describes how browsing this forum has been a quasi-traumatic experience for both writer Helen Raynor and composer Murray Gold. In this respect, writing a provocative « Creating something is not a democracy. The people have no say » will certainly not help (nor the « relentless and merciless idiocy of internet 'criticism' » of renowned author Philip Pullman in his foreword for the book).

Second, the weight of economics, from the responsible preoccupation to not waste the BBC money (« Of course, I'm terrified about the budget. I've spent about £500 million, so it'll have to calm down. Or I might ask them to axe BBC Three ») to the realities of a lucrative tv franchise (« I'm hooting at those frubes. They're the only licensed product that Julie and I were ever unsure about, but that sort of thing can be worth a fortune for BBC Worldwide »). Third and final, the weight of personal decisions on the fourth series. « We decided that we'd have a fourth series (David [Tennant]'s third) with a big ending after which we'd take the show off air, just for a short while, apart from the odd special, so that we could have a breather, and a new production team could settle in, find its feet, and prepare for Series Five »...

At this stage the tabloid press jumps on Davies' plans and the impression is that the Doctor Who Team desperately needs Jenny Lewis of Primeval. It's not the first time, as he remembers the leak about Christopher Eccleston leaving the show. « We've planned this for ages »... but plans do not always come together: « ... when David finishes Series Four, he's off to the Royal Shakespeare Company to play Hamlet» and the production realizes he won't be in Series Five because of schedules. « ... that I was worried that David personally was taking a lot of flak for the 'gap year', like we'd done it in order for him to do Hamlet » What would Francis Urquhart say?

Peter Fincham, controller of the BBC at the time, worries too (« Why are we doing this?! Why?! »): «I had to go into Peter Fincham's extremely posh office, today and explain why I will not be doing a Series Five. Ooh, he's not happy. It was very awkward ». Problems fly and Russell T. Davies also cares about regular crew of the show, in Cardiff, after the announcement that Doctor Who will not return until 2010. And a fire destroys part of the Cinnecittà Studios in Rome, where the production team was shooting the Pompeii episode - « Phil [Collinson, producer] didn't nip outside for a smoke did he, and drop his cigarette? » candidly asks Benjamin Cook.


« Steven, I've changed my mind! Steven? What d'you mean 'Russell who'?»

Unconscious diary of Series Four, Doctor Who: The Writer's Tale is a choice instrument for a better comprehension of these manipulatively teaser moments typical of the flamboyant reign of Russell T. Davies on Who: The Doctor's Daughter (« Go on, Russell, leak The Doctor's Daughter and watch the internet explode! »), the terrible botched "send in the clone" regeneration, the great David Morrissey as The Next Doctor in a missed opportunity... What is not comprehensible is this anti-teaser moment in the conversation between "Invisible Ben" and Davies that leads - « What? What? Whaaaat??? » - to the abandon of the Cybermen cliffhanger of the series for a trailer after the end credits.

The Writer's Tale is a tale about creation and creativity, a corporate drama, an adventure novel, an invitation to witness the end of an era for the best show in the History of Television (with a new Doctor and a new production team for Series Five), a tour de force for journalist Benjamin Cook. It's also an exercise of transparency for Davies, author turned de facto entrepreneur in an environment where piloting an institution like Doctor Who often stirs controversy (« We needed a desert, simple as that » (2) ) - on the way paved by the late John Nathan-Turner, the first modern "showrunner" of the franchise. These 512 pages make sense but the book is also sensibility, when David Tennant's mother is evoked but above all with the most moving part of Doctor Who: The Writer's Tale: when Howard Attfield, who plays Donna Noble's dad must be replaced by Bernard Cribbins (as Donna's grandpa) because of his illness.

Russell T. Davies will leave the keys of the Tardis to Steven Moffat, another representant of this brilliant generation of writers which make British television fiction so unique. Queer as Folk qualified Davies as a bold, innovative author, and he brought back Doctor Who to anchor the show in the realities of its time. « That, now is the definition of Doctor Who. It's the show that comes back ». Davies the author will be back after his tenure of Doctor Who and let's bet the weight of our expectation will match his own challenging expectations.

(1) Now, what about a book of Doctor Who production related cartoons? Like Sir Alan Parker's Will write and direct for food (

Doctor Who: The Writer's Tale (BBC Books/£30 -

The Writer's Tale Official website: (with six downloadable full scripts in PDF)

Thursday, 12 February 2009


God I love Hollywood! In September 2008, your humble servant joked around the idea of an US Lost in Austen remake in his typical "What's next?" mode ( What's next after ABC's remake of Life on Mars? An US remake of ITV's Lost in Austen? « Amanda Price hates her life, but she loves Gone in the Wind [Imagine the voice of the late Don LaFontaine] ... Lost in Mitchell, coming soon! »

Now I read on The Guardian that the ITV series will become a Hollywood movie produced by Sam Mendes ( After all Fox is sticking to the remake of Absolutely Fabulous ( Sure I will live old enough to see an US tv remake of The Sweeney with Harvey Keitel as Regan.

Now one obvious question: will Kate Winslet replace Jemima Rooper for the big screen? Er, if they use Margaret Mitchell the production can find my e-mail on this blog...

Tuesday, 10 February 2009


Since the Beeb launched the new Doctor Who in 2005, making it its most profitable franchise, Memory Lane means Penny Lane for British television. The Corporation tastes the sweet success of the reinvention of Terry Nation'Survivors by Adrian Hodges (Primeval), ITV's The Prisoner is coming soon and a new Blake's 7 is in the air. What's next? Robert Glenister as John Steed in a remake of The Avengers? John Simm as Bergerac? A new Van Der Valk? (not a Wallander in Holland, please...) Stephen Fry as Jason King? (God, I would love this one!)

Every Wednesday on Five since February 4, UK viewers have now another new version of a cult show: Minder. The original Minder ran from 1979 to 1994 with Dennis Waterman (after The Sweeney, another favourite of your humble servant) and George Cole. Waterman was Terry McCann, a sympathetic former boxer who served time in prison because of his loyalty, and who becomes the "minder" (i.e. bodyguard) of Arthur Daley (Cole), an unscrupulous but lovable rogue "entrepreneur". In 1991, Gary Webster replaced Dennis Waterman, as Arthur's nephew, Ray.

The first Minder, produced by Euston Films (a subsidiary of Thames Television), is one of the jewel of the crown of the late Verity Lambert, and is considered as a classic amongst the classics - like the famous theme song of the show, I could be so good for you, performed by the great Waterman himself. So Five takes some true risks but shows a real ambition with the new version, even launching a national advertising campaign to promote the new Minder (, and signing up Attic Lights to perform the 2009 version of the theme (

In Minder 2009 - produced by Talkback Thames, Shane Richie (EastEnders) is Archie Daley, Arthur Daley's nephew, and Lex Shrapnel is Jamie Cartwright, the new "Minder". The duo works quite well, and Minder borrows its look and style to Hustle (is the Gherkin building the new symbol of London under credit crunch?) or Ashes to Ashes. Critics are devastating (for a nuanced and rather relevant review: but why flush already this sincere attempt of Five to offer popular entertainment a la Kudos? Minder could be so good for you...

Minder on the Five website: (with a funny video of the theme song by Attic Lights).

Update: Interview of the two stars of the show, Shane Richie and Lex Shrapnel (

Update (March 19, 2009): Minder on DVD (


The excellent Digital Spy website ( offers us a preview of the finale of Hustle Series 5 (this week on BBC 1), with some of the team's previous marks back for revenge:

It seems that the creative forces behind the show brought Hustle back on tracks after two forgettable series (to put it kindly...) Please have also a look to this article on ITV's Demons ( It's time to fire up the Quattro...

Thursday, 5 February 2009


Regular readers of this humble blog remember we mentioned in december AMC's blog ( about the shooting of ITV's remake of The Prisoner ( - with Sir Ian McKellen as Number Two and Jim Caviezel as Number Six.

This blog offers now a short Making Of ( Two months ago we expressed some apprehensions about this new version, and we're afraid they're intact. Let's hope the result will prove we're wrong.

Tuesday, 3 February 2009


It's now almost as famous as the Watergate tapes. The audio of American actor - born Welsh - Christian Bale (The Dark Knight) shouting after director of photography Shane Hurlbut, whom he accuses of ruining a scene by walking onto the set of Terminator Salvation, directed by McG (Charlie's Angels).

It rapidly spread on all the US blogs: TMZ (, Nikki Finke's Deadline Hollywood Daily (, Perez Hilton (, The Wrap ( - linking to Perez), etc... with the subsequent ton of comments and reactions (more than 300 comments on Nikki's blog).

Two readers on Nikki Finke's DHD called the whole thing "PR Stunt". It's up to you to judge ( but remember the proverb: « Any publicity is good publicity », and what we hear sounds a little On the Waterfront even for the actor of American Psycho. Five days ago, Wired revealed exclusive visuals of the movie (

Trailer here:

Update: Christian Bale makes Pop culture... Please watch that hilarious Stephen Colbert video found on Nikki Finke's Deadline Hollywood Daily (

Monday, 2 February 2009


From a book by David Peace. The 44 days of manager Brian Clough with football club Leeds United. A piece of UK's History in many respects...


Your humble servant picks up his three favourites...

Land of the Lost ( - Remake of the classic 1974 tv show (already remade in 1991). Looks like another Night at the Museum, But Will Ferrell seems at his best - I absolutely adore the « taxpayers money » line. That will be interesting to see how the movie will be marketed in France, as the two tv shows are totally unknown here.

Race to Witch Mountain ( ) - Don't laugh, I'm a definite fan of the Witch Mountain "Franchise" (everything is called "Franchise", nowadays...): the two movies of the seventies plus the two tv movies. Call this a Madeleine de Proust effect, but I want to have a look at what they've done. The original Witch Mountain movies have been completely forgotten in France.

Up ( - Generally, I'm fed up (no pun intended) of digital animation, especially with talking animals or other creatures. After The Incredibles (the best Bond movie of these last ten years), I hoped there would be more humans. I like the grumpy old man character and the teaser of this new Disney-Pixar installment.

Talking about marketing in France, your humble French servant will follow with the highest interest the promotion of GI Joe: Rise of the Cobra ( here. When I was a kid, Superman saved the Eiffel Tower from a bomb (hydrogen? That will give me a pretext to watch Superman II again...) Now the tower falls after being covered by God knows what - living far from Paris has its advantages. And they'll have to boost the toy brand on our territory before the release of the film, I've never seen one of my nephews with a GI Joe character.

Star Trek ( ? Well, Abrams'Mission: Impossible III is one of the best action thriller in the History of cinema but I have difficulties with what I see of this "reboot" treatment. That's probably why I like the grumpy old man of the Up teaser (