'Star Wars' 40 Hours Extra Blu-Ray Footage

Nobody has found a way to squeeze more cash out of a film franchise than George Lucas has done with Star Wars, and he's at it again. Here's a trailer for the release of the six films on Blu-ray. I caught the bug on the original trilogy that was far ahead of its time, but I found the prequel uninteresting compared to films like The Matrix, which was released around the same time. Still, Lucas is serving up 40 hours of extras in these releases. But does anyone other than the hardcore geek really care?

HotelMotel

Sarah Lemp as Dr. Sarah Bauer (top) and James Kautz as Robert Wyatt (bottom) in Pink Knees on Pale Skin. An Amoralists presentation of two plays in 2 functions. "Pink Knees on Pale Skin" written and directed by Derek Ahonen. "Creatures and Plants" written and directed by Adam Rapp."Pink Knees on Pale Skin"Dr. Sarah Bauer - Sarah LempLeroy - Jordan TisdaleRobert Wyatt - James KautzCaroline Wyatt - Vanessa VacheTheodore Williams - Byron AnthonyAllison Williams - Anna StrombergNorman - Nick Lawson"Creatures and Plants" Dantly - William Applications Burris - Matthew Pilieci Cassandra - Katie Broad Buck - John MendesOne of nowadays, the Amoralists are likely to get arrested. Company's "HotelMotel," a website-specific production in the Gershwin Hotel, restricted to a comfortable 20 seats, promotes among its two plays as "a comedy about orgies gone bad," and because of the company's literally ballsy tendency for boundary-pushing nudity, Amoralists fans may go into the venue with excusable trepidation, a minimum of if they are getting dates. Second play reps a number of author/helmer Adam Rapp's best writing, with less surefooted work from company founder Derek Ahonen (also double-sinking) on first. Nakedness, both emotional and physical, develops. Ahonen's "Pink Knees on Pale Skin" opens both-play set. Fearlessness seems the fuel within the Amoralists' engine, which quality is on full display because Ahonen and the stars construct the plot: a cruel sex counselor (Sarah Lemp) and her husband Leroy (Jordan Tisdale) use couples about the verge of divorce in accommodation where Leroy hides underneath the mattress, naked, and emerges to screw using their heads and, if they are interested, their physiques. The play advantages of good quality performances, particularly from Lemp along with a very game Anna Stromberg as Allison Williams, a comedian who can't come with an orgasm or tell a tale. But Ahonen assigns a lot of pat mental backstories, and also the play begins to appear conventional even while its its figures graphically exercise their sexual dysfunctions within arm's achieve from the audience Following a particularly small-talk-free intermission, Rapp's "Creatures and Plants" gets control the area. The plays have similar configurations, but on departing the Gershwin, it's difficult to think about two more different scripts. Rapp's two drug sellers, Dantly (William Applications) and Burris (Matthew Pilieci), appear lent from the Mike Shepard play, but Rapp produces this type of strong atmosphere of miracle and fear within the play's Boone, N.C. motel room the figures appear just like bewildered because the audience because the murderous narrator begins to experience methods in it. "I am not necessarily here, however i may be back later," he alerts. Pilieci is particularly good here, because he is at "Pied Pipers," and John Mendes is terrifying. Tech aspects are minimal in "Pink Knees" and remarkably complicated in "Creatures and Plants" overall, the talents from the production overpower the weak points within the "Pink Knees" script, although careful analysis play Rapp's much reduced, creepier play last inside a nearly four-hour bill sucks it of a number of its energy.Set, Alfred Schatz costumes, Jessica Pabst lighting, Keith Parham seem, Phil Carluzzo production stage manager, Jaimie Van Dyke. Opened up August. 10, 2011. Examined August. 8. Running time: 3 Hrs, 45 MIN. Contact Mike Thielman at mike.thielman@variety.com

'The Walking Dead': What Really Happened to Fired Showrunner Frank Darabont

When Frank Darabont appeared on a Comic-Con panel July 22 to promote The Walking Dead, he didn't realize he was a dead man walking. Neither did the cast and crew. Everyone was shocked when news broke three days later that AMC had taken the extraordinary step of firing Darabont from the network's biggest ratings hit.our editor recommends'The Walking Dead': Showrunner Frank Darabont Stepping Down'The Walking Dead': Glen Mazzara in for Frank Darabont as Showrunner'Breaking Bad' at Impasse as AMC's Growing Pains Emerge (Analysis)'The Walking Dead': Season 2 Finds Rick Between a Rock and a Zombie (Video) In hot, sticky Atlanta, where production on the second season had been under way since June, the cast was summoned to a lunch meeting with AMC vp scripted programming Ben Davis, who confirmed that Darabont was out. The crew was briefed separately. One insider says those gathered were stunned at "the duplicity of AMC" for having used Darabont to promote the show at Comic-Con before firing him. And they were angry about the lack of explanation; they were simply told, cryptically, "This isn't working." Above all, they were disheartened. "It's a crushing blow," says the insider. "Even when you have a hit, they can still destroy you." VIDEO: Emmy Roundtable: Drama Showrunners Darabont -- like many showrunners, not known for a small ego or manageable temperament -- had been working on an edit in Los Angeles. After he was sent packing, he returned to give some final notes. He sent farewell e-mails to associates on the show. But he has maintained a steady silence in the media as his representatives work out the terms of his departure. Through his lawyer, Darabont said he has no interest in talking to the press. There also have been no public comments from the cast, and a source with knowledge of the situation says AMC has been "terrorizing" them and their representatives to discourage them from speaking out on Darabont's behalf. "They're scared," confirms another insider. "They're on a zombie show. They are all really easy to kill off." AMC issued a statement after Darabont was dismissed, expressing gratitude for his "innumerable" contributions to the show. Asked to comment on criticism for the handling of his departure, a spokesperson said, "We have nothing further to add." PHOTOS: Behind the Scenes of 'The Walking Dead' This drama makes it a hat trick: Within a space of months, AMC has become embroiled in messy public fights with the creators of its top three shows -- Mad Men, Breaking Bad and now Walking Dead. The battles have been about money, but in this case, at least, it was more of a slow burn than a sudden flare-up. Sources say last fall, even before the first episode of the show had aired, AMC let it be known that it would effectively slash the show's second-season budget per episode by about $650,000, from $3.4 million to $2.75 million. AMC cut the budget and pocketed a tax credit previusly applied to the show. An AMC source says the size of the cut cited by sources is "grossly inflated" and that the second-season budget represents a more typical and sustainable number for a basic cable show. At a glance, it would appear AMC is taking a big risk with its only huge commercial success. Mad Men and Breaking Bad are Emmy magnets that average 4.3 million and 2.3 million viewers, respectively. But Walking Dead, based on a series of graphic novels, attracted an astonishing 5.3 million viewers when it premiered on Halloween. The season finale in December drew more than 6 million viewers. In the 18-to-49 demo, it chalked up the biggest number ever for any drama on basic cable. VIDEO: TV Executive Roundtable with Charlie Collier, David Nevins and More AMC has enjoyed stunning success since it stopped relying on old movies and plunged into original series with Mad Men in 2007. But given its recent battles, several sources involved with its signature shows say AMC does not seem ready to handle its success. "It feels like they don't have the experience of being on top," one fumes. "They're total ball-busters, and that pisses people off." But being on top can be more about perception than profit. It's no coincidence that these flare-ups have come at a time when success for the network will be defined in far more specific terms. In July, AMC was spun off from parent Cablevision as AMC Networks (which also includes Sundance Channel, IFC and others). AMC has been preparing to face Wall Street's scrutiny as its expenditures on programming have shot up. (According to SNL Kagan, the network's programming budget has climbed from $123.3 million in 2006, the year before it got into original series, to an estimated $174.5 million this year --actually not that much given the network's 180.) PHOTOS: Emmy Nomination Snubs, Shockers and Surprises What is also hugely significant is that Walking Dead is the only show AMC owns, which means the network bears all the financial risk (and could reap much greater rewards in success). That is not the kind of chance that the network had been willing to take before. AMC developed Mad Men and even fully financed a pilot before the company decided that the cost of the first season, about $25 million, was too much to bear. So AMC sold the idea to Lionsgate and licensed it from the studio. Lionsgate owns Mad Men, and Sony Television owns Breaking Bad. And despite "being on top," AMC is still a newcomer in the world of original programming and still small potatoes compared with more established competitors. The network costs distributors about 26 cents per subscriber each month, compared to $1.08 and 60 cents for TNT and USA, respectively, according to SNL Kagan. ♦♦♦ A source on Walking Dead says wistfully that if a studio owned the show, the producers might have gotten help in the battles with AMC. In the case of Breaking Bad, Sony responded to the network's decision to cut the number of episodes from 13 to six or eight by shopping the series to FX, which isn't possible with Walking Dead. (Breaking Bad now appears likely to remain on AMC.) STORY: 'The Walking Dead' Guide to Becoming a Zombie Even when there's a studio involved, the fights have been tough. The conflict with Mad Men creator Matthew Weiner has been abundantly documented and concluded with Weiner getting $10 million per season for up to three more seasons and AMC getting more commercial time. The fracas didn't burnish any reputations with the public. Now sources involved with Breaking Bad are venting displeasure with the network. One says AMC could have dealt with Breaking Bad in a more timely and collaborative manner and come to an easier resolution, adding, "You hate when it comes down to the point where it gets stupid." Laments a producer on one of the signature shows: "AMC may have had too much success too soon, and they think they know how to do it. But showrunners like Matthew Weiner and [Breaking Bad's] Vince Gilligan are so rare -- you can't replace people like that." In the case of Walking Dead, AMC has replaced Darabont with executive producer Glen Mazzara, by many accounts a strong talent. But sources associated with the show say Darabont was an integral part of a lightning-in-a-bottle formula that had been working. "Everybody loves Frank and has had an amazing experience," says a talent rep with a client in the mix. "He's brilliant, and we want him there." According to an insider, many members of the cast and crew feel the same way. "Frank's fingerprints are all over every single aspect of the show," this person says. "I heard a Teamster saying, 'How are we going to do this without Frank?' " The rupture doesn't make sense for Darabont, either. His other best credit, The Shawshank Redemption, dates to 1994. Despite his public complaints about the grueling hours on the show, Darabont was hardly walking away from Walking Dead. But AMC's budget-cutting upset him. "Frank doesn't like to see the cast and crew overworked and underpaid," says a show insider. As recently as the end of May, with the show's second season poised to go into production, Darabont seemed to be holding out hope that AMC would relent. "Creatively, I have no complaints thus far," he said at a THR roundtable. "But I believe if they do move ahead with what they're talking about, it will affect the show creatively ... in a negative way. Which just strikes me as odd. If you have an asset, why would you punish it?" An agency source says Darabont is "notoriously a pain in the ass" known for "taking a feature-film approach to television," which is meant to suggest that he didn't manage the brisk pace of television well. But an insider says Darabont's approach was what made Walking Dead special. "Frank fights for the show," says an insider. "He doesn't just do what the network wants him to do. ... He's a filmmaker, and that's why the show was as good as it was." Sources with ties to the show insist it was on schedule and on budget. ♦♦♦ What remains a central mystery, even to those closely involved, is what triggered AMC's move to fire Darabont. As noted, AMC's decision to cut the budget dated to the previous fall, when the network instructed Darabont to produce 13 episodes for a second season, up from six for the first season, for less money. Not only would the show get a lower budget, but AMC also decided that Walking Dead would no longer reap the benefit of a 30 percent tax credit per episode that came with filming in Georgia. Now the network was going to hold on to that money. At the time, a source says, the show's producers decided not to get into a confrontation. "To have a fight over a number when they didn't know what the show was going to do didn't make sense," says this source. But when Walking Dead began to break AMC records, those involved figured that a negotiation would take place and the cuts might be reduced. But this source says that AMC had its own ideas about how to make the show more cheaply. The show shoots for eight days per episode, and the network suggested that half should be indoors. "Four days inside and four days out? That's not Walking Dead," says this insider. "This is not a show that takes place around the dinner table." That was just one of what this person describes as "silly notes" from AMC. Couldn't the audience hear the zombies sometimes and not see them, to save on makeup? The source says Darabont fought "a constant battle to keep the show big in scope and style." Despite the show's success, AMC stuck to its original position on the second-season budget. When those involved with the show protested that the network was taking chances with its biggest hit, AMC's head of original programming, Joel Stillerman, is said to have declared, "Ratings have no bearing on this conversation." The show went into production on its second season in June. Sources say an early episode came in with footage that was not usable. The director had shot a successful first-season episode and was a mutually agreeed-upon choice. Darabont was editing the episode in an effort to fix it but by then, an insider believes, AMC was looking for a pretext. "Joel thinks he is responsible for the success of shows on AMC, and not the creators," this person says. This person blames Stillerman for the decision to fire Darabont. (Stillerman also has a strained relationship with Mad Men's Weiner, who declines to speak to him.) Through an AMC rep, Stillerman declined comment. With Walking Dead in the middle of production on its second season, a number of very key and capable players are still involved, including Mazzara, Walking Dead comic creator Robert Kirkman and effects master Greg Nicotero. Only time will tell whether the Dead will suffer when they return or -- who knows? -- maybe even rise. If the show stumbles, many of its most passionate fans will blame AMC for firing Darabont, and he will become an even bigger martyr in their eyes than he already is. WHO'S WHO IN THE DISPUTE Charlie Collier: AMC's president is finding that success creates its own challenges. Joel Stillerman: AMC's head of original programming had ideas about how to keep costs down. Glen Mazzara: The man taking over for Darabont joined the show after its first season wrapped. Related Topics AMC The Walking Dead Frank Darabont

New York laff fest sets lineup

Louis C.K., Ricky Gervais, Bill Maher, Norm Macdonald, Sarah Silverman and Wanda Sykes are among the performers (more than 150 comics total) booked for this year's edition of the New York Comedy Festival. Event, which counts Variety among its media sponsors, will be held Nov. 9-13 in venues across Gotham, with tickets on sale to the general public on Aug. 15. The festival is the brainchild of Caroline Hirsch, owner and founder of New York comedy club Caroline's On Broadway, and partner Andrew Fox. Each year, the fest partners with Comedy Central, which shoulders some of the financial burden that comes with putting on scores of comedy sets, and has just inked a new three-year pact with the festival to continue its support. "About four years ago, we got ourselves refocused on (the festival)," said Comedy Central live entertainment senior VP Mitch Fried. The series, Fried explained, is vital to the development of his division. "It's important because it's live touring and homevideo and a lot of businesses that relate to standup comedy; it's very important to us in terms of brand positioning for the network and in terms of relationships with the talent." Like any big corporate event, the shows provide Comedy Central with a chance to schmooze with ad buyers and VIPs, but the festival also gives execs a chance to check out talented non-headliners looking to venture further into television. It also provides the opportunity to film sets that can be broadcast on the network. Contact Sam Thielman at sam.thielman@variety.com

Keck's Exclusives! Peter Fonda Rides Into Hawaii Five-0

Peter Fonda Hawaii Five-0 is getting a visit from an Easy Rider. Peter Fonda, star of the 1969 counterculture classic, will appear on the CBS procedural this October as a salty treasure-hunting sea captain. But he's quite the unsavory character. Turns out he preys on suckers and bilks them out of millions. His reputation won't help him when he's suspected of murder. Peter, 71, rarely visits the small screen, with recent appearances limited to guest spots on ER and CSI:NY. Subscribe to TV Guide Magazine now!

Mocap enables 'Apes' pic to increase

Andy Serkis in "Rise from the Planet from the Apes" CherninClarkWhile the realistic simians in "Rise from the Planet from the Apes" represent groundbreaking performance-capture technology, the filmmakers' first priority was by using their tool to create humanity for their CGI masterpieces.The most recent installment within the franchise was meticulously crafted on all levels, given its much talked about like a key summer time tentpole for twentieth century Fox and it is status because the first feature from Peter Chernin's Chernin Entertainment banner."Apes" is really a "huge effects movie," stated Chernin, who created the pic with Chernin Entertainment film prexy Dylan Clark. It consists of the 2nd-greatest quantity of vfx shots associated with a Fox pic behind only "Avatar."But Chernin stressed that "Apes" is "not about razzle-dazzle action. It comes down to wise storytelling with sophisticated effects that draw audiences nearer to the figures."In a screening event recently, experts from WETA Digital, the visual effects studio behind the film's apes, described the way it produced portable performance-capture rigs to assist get the numerous Brought markers placed throughout an actor's face. They measured not just the facial actions but which face muscles were firing, permitting filmmakers to record the nuances of actor Andy Serkis' facial gestures, then translate them in to the CG image.So while Serkis' actual face isn't observed in the Rupert Wyatt-helmed film, his actions are."I'd hope that audiences are as psychologically involved so that as committed to him every lead actor this summer time," Chernin stated.Filmmakers also shot a lot of Serkis' mocap moments on practical sets using the stars -- frequently outdoors as well as on location -- a definite difference using their company mocap-heavy films shot in indoor empty motion capture "volumes." That assisted thesps, including James Franco, Freida Pinto and John Lithgow, by permitting these phones play from Serkis rather than a greenscreen.Clark stated that getting Serkis acting out primary ape Caesar's motions and facial expressions "produces a more captivating, intimate, intense performance."Punching the right balance between visual effects and storytelling may be the central challenge for any film that seeks to align the "Apes" brand using the essentials of the twenty-first century tentpole. Some experts asked whether using "Planet from the Apes" within the title would be a dangerous move considering the fact that "Rise" happens in our day."We ultimately felt the rewards outweighed the potential risks in going after this film," Chernin stated. "This is because pure an roots story as I have seen, and that we understood the need for the franchise logo and desired to make the most of that."While Chernin stressed careful analysis do an roots story as opposed to a reimagining, a dark tone of "Apes," which bows today, is unquestionably not the same as those of previous films within the franchise."Probably the most relevant example to this is actually the 'Batman' franchise and ... Chris Nolan's reinvention of this, which felt a bit more serious, more dark, contemporary....cooler," Chernin stated.Chernin and Clark thought that setting "Apes" in present-day America added relevance for auds. Marketing the film worldwide, however, needed taking overseas tastes into consideration: Based on the producers, worldwide trailers focused more about character and story compared to domestic trailers did (though Chernin highlights the trailers have aligned more in recent days).Although galleries push for splashy three dimensional tentpoles, the producers and Wyatt have stated they did not feel pressure from Fox to create the film stereoscopic. In addition to that, the shoot was quick -- This summer through September of this past year with pre-production moving in March -- there wouldn't happen to be time, based on Chernin, to create the film in three dimensional.But, similar to the original 1968 film, the most recent version aims to mirror the cultural zeitgeist."The much deeper resonance is ultimately about science and responsibility," Chernin stated. "This really is ultimately an extremely cautionary tale about science gone amok contributing to mankind's utilization of science." Contact Rachel Abrams at Rachel.Abrams@variety.com

'Unforgettable' Is Not Your Typical Procedural, Says Executive Producer

Ed Redlich appeared before the press Wednesday with a message about his new seriesUnforgettable: It is not your typical procedural.our editor recommendsCBS' Nina Tassler of Ashton Kutcher: 'I'm Just Happy to Be Where We Are Today'A Day in My Life: Nina Tassler CBS, Netflix Sign Two-Year Content AgreementAshton Kutcher Will Play Internet Billionaire on 'Two And a Half Men'David Letterman's Top 10 List for the Nation's TV Critics The former Without a Trace executive producer acknowledged during a stop on the Television Critics Association's summer tour that he was very clear with CBS from the very beginning that he wasn't interested in returning to TV to do another straight-forward procedural. While the format -- a CBS staple -- has propelled the Tiffany network to No. 1 status, Redlich was looking to something more character-driven. PHOTOS: CBS' New Fall TV Shows "In the CBS world of the Good Wife[the network is] opening up to telling different kinds of stories and getting involved in the personal lives of the characters," he told a roomful of reporters. Worth noting, while Wife has garnered the network heaps of critical praise, it has drawn fewer viewers thanjuggernauts likeNCIS, NCIS: LAandCriminal Minds."We all love to tell great stories that have wonderful endings, but we're interested in these two people [Poppy Montgomery and Dylan Walsh's characters] and their lives as well, and I think that we have the leeway now at CBS to do that." He added, "One of the frustrations on Without a Trace is that we had this astounding cast and we were a little bit locked into a tighter procedural mold.In a way, the guest cast was often the star of the show." PHOTOS: The Quotable TCA: TV Press Tour Eavesdropper Redlich's new series will center on Montgomery's Carrie Wells, a former detective with a rare condition that makes her memory so flawless that every moment is forever embedded in her mind. The only thing that she can't remember are thedetails that would help solve her sister's murder long ago. Unable to detach from that troubling past, Carrie is unexpectedly reunited with her ex-boyfriend and partner, NYPD Detective Al Burns (Walsh), when the pair consults on a homicide case. For Walsh, the freedom to deep dive into the shows characters was a big part of the draw. "What I love about it is that it's a great prodecural because it's more than that," he said, adding that "it looks at people more than your average procedural." Email: Lacey.Rose@THR.com Twitter: @LaceyVRose Related Topics TCA CBS TCA Summer Press Tour 2011

CW tops GLAAD list for LGBT portrayals

GLAAD states TV needs more content such as the wedding of Callie and Arizona on ABC's "Grey's Anatomy." The broadcast and cable systems are earning strides within their inclusion of LGBT images, figures or story lines, according to an alternative report in the Gay & Lesbian Alliance Against Defamation, using the CW topping the org's fifth annual Network Responsibility Index (NRI) rankings for that second year consecutively.GLAAD's report noted that 33% from the CW's primetime programming hrs throughout laptop computer period incorporated LGBT images, figures or story lines.Fox arrived in second place and ABC third with "good" rankings in the org. NBC rated 4th by having an "sufficient" mark, despite the fact that CBS enhanced its rating from "failing" to "sufficient," still it rated the cheapest one of the broadcast nets in fifth place.ABC Family nabbed the NRI's second-ever "excellent" rating (MTV received the very first this year) and rated first one of the cable nets. Showtime, TNT, Cinemax, Lifetime, AMC and Syfy received "good" rankings. USA upped its rating from "failing" to "sufficient," while for that 4th year consecutively, A&E and The best spinner's received "fails" about the NRI.Rankings derive from a mix of the amount, quality and diversity of LGBT images on tv in comparison to overall programming for every internet. ABC Family, for instance, had 103 hrs of original primetime programming interviewed for that NRI.While GLAAD acknowledged the networks' gains in offering more LGBT-inclusive programming, the org stated the transgender community remains underrepresented or misconstrued."Fairly and precisely showing the transgender community ought to be seen not only like a responsibility for systems but being an chance," stated Mike Thompson, acting prexy of GLAAD. "You will find wealthy figures and tales not yet been written."Thompson stated a chance to achieve diverse auds brings rewards for the reason that "inclusive programming is really a hit with experts and audiences alike who cheered for Kurt and Blaine's romance on 'Glee' or viewed the marriage of Callie and Arizona on 'Grey's Anatomy.' As television audiences become familiar with our community and also the mutual understanding that people all share onscreen and in their own individual lives, acceptance keeps growing.InchGLAAD will release its 16th annual "Where We're on televisionInch set of diversity in September. Analysis will examine LGBT inclusion along with the gender and race/ethnicity of scripted figures scheduled to look throughout the 2011-12 season. Contact the range newsroom at news@variety.com

Spider

Jill is annoyed with Jack, disregarding his tries to get her to smile as she drives a town road. She stops for gas, even though she's filling the tank, he adopts the station's small-mart and buys a bouquet, chocolates, along with a couple of bits and pieces. While she's having to pay, he sits within the passenger chair, strewing the flowers and things. She pushes away the flowers, begins the vehicle, and resumes driving, looking straight ahead. He peels the paper off a chocolate and sets it about the dash near her hands. She takes it. He sets out another soon she softens, then, she folds lower the visor. Has Jack made things right again? And also the tuffet?

Forest Whitaker, Anthony Mackie Starring in Voodoo Horror Film

Getty ImagesForrest Witaker, left, and Anthony Mackie Forest Whitaker, Anthony Mackie, Mike Epps and Sanaa Lathan are starring in Vipaka, a psychological voodoo horror movie that Philippe Caland isdirecting. Written by Shin Shimosawa, the story follows a severely disturbed contractor(Whitaker) seeks help from a life coach (Mackie). What begins as an honesttherapy session becomes a twisted and dangerous psychological game, when heabducts the life coach and uses his spiritual messages to terrorize him andhis family. Lathan is Mackie's wife while Epps is his brother. Production begins this week in New Orleans. Whittaker and Nina Yang are producing through the duo's Significant PicturesCaland wrote and directed Whitaker's 2007 thriller Ripple Effect andco-wrote Boxing Helena. Shimosawa, a co-producer on The Grudge movies, co-wrote the 2008 horrormovie The Echo and is a staff writer on the Sarah Michelle Gellar show TheRinger. WME-repped Whitaker, who won an Oscar for his performance in 2007's LastKing of Scotland, last starred in TV's Criminal Minds: Suspect Behavior,where he worked with Shimosawa. Anthony Mackie Forest Whitaker Sanaa Lathan

Animated Film 'Escape From Planet Earth' Will get Voice Cast

NEW You are able to, NY August 2, 2011 The Weinstein Company (TWC) and Rainmaker Entertainment introduced today the all-star voice cast for Avoid The World including Brendan Fraser, Nicole Kidman, Jessica Alba, Take advantage of Corddry, James Gandolfini and Craig Robinson. The three dimensional animated family comedy is presently entirely production. The announcement is made today by Donna Gigliotti, TWCs Leader of Production, and Catherine Winder, Leader and Executive Producer, Rainmaker Entertainment. Both Gigliotti and Winder function as producers about the animated feature film. Avoid The World is directed by Cal Brunker, most widely known for his focus on the animated movies Wretched ME, 9 and HORTON Listens to A WHO! Producers Gigliotti and Winder are became a member of by Rainmakers Luke Carroll like a producer about the film. TWC Co-Chairmen Bob and Harvey Weinstein are executive producers. The film was compiled by Cal Brunker and Bob Barlen depending on an authentic script by Tony Leech and Cory Edwards. The three dimensional animated family comedy Avoid The World catapults movie goers to planet Baab where respected astronaut Scorch Supernova (Brendan Fraser) is really a national hero towards the blue alien population. An expert of daring rescues, Scorch pulls off astonishing achievements using the quiet aid of his nerdy, by-the-rules brother, Gary (Take advantage of Corddry), mind of mission control at BASA. When BASAs no-nonsense chief Lena (Jessica Alba) notifies the siblings of the SOS from the infamously harmful planet, Scorch rejects Garys alerts and bounds off for another exciting mission. However when Scorch finds themself caught inside a fiendish trap set through the evil Shanker (James Gandolfini), its as much as scrawny, risk-adverse Gary to complete the actual saving. Because the interplanetary stakes rise to new levels, Gary remains in order to save his brother, his planet, his beloved wife Kira (Nicole Kidman) as well as their adventure hungry boy Kip! A movie in the Weinstein Company, Avoid The World is created in colaboration with Rainmaker Entertainment and will also be launched within the U.S. in 2012.