Its Official: Starz Orders David Goyer/BBC Worldwides Da Vincis Demons To Series

David Goyers Da Vincis Demons Eyes Green Light At Starz EXCLUSIVE: Starz has given a straight-to-series order to Da Vincis Demons, an adventure series fromThe Dark Knight/Man Of Steel co-writer David S. Goyer and BBC Worldwide Prods. Da Vinci’s Demons has received an eight-episode order and is slated to start filming in early 2012 for a 2013 premiere. This is the first project to enter production under the multi-year agreement Starz signed with BBC Worldwide Prods. in August. Written by Goyer, Da Vinci’s Demons is described as a historical fantasy that follows the “untold” story of the world’s greatest genius during his raucous youth in Renaissance Florence. Brash and brilliant, the 25-year-old da Vinci is an artist, inventor, swordsman, lover, dreamer and idealist. As a free thinker, with intellect and talents that are almost superhuman, he struggles to live within the confines of his own reality and time. He begins to not only see the future, but invent it. “Da Vinci was the original Renaissance man — a near-mythic figure that has world-wide appeal,” Goyer said. “This will be a show about secret histories, genius, madness, and all things profane. And I’m particularly excited that I get to do it on premium cable, where the story can be as dark and challenging and irreverent as it deserves to be.” Goyer will serve as showrunner on the series, executive producing alongside Julie Gardner and BBC Worldwide Prods. head Jane Tranter. “David has reimagined some of the most iconic superheroes of all time, and is again building an extraordinary prism through which to rediscover the worlds greatest genius and most mysterious man,” Starz Media Managing Director Carmi Zlotnik said. “If modern day has Tony Stark, the Renaissance had da Vinci.” Da Vinci’s Demons started heating up in late August when produces began sending out feelers to writers about potential staffing jobs. That has now turned to firm staffing offers. BBC Worldwide will distribute the series internationally. The company is deficit financing the shows under the deal with Starz, primarily from international sales, so the series are developed with the global marketplace in mind. Da Vincis Demons fits that bill with a protagonist who is one of the most recognizable figures in worlds art and science history. What’s more, the young life of this incredibly complex and brilliant man has not yet been explored,” Tranter said. Da Vincis Demons is the latest straight-to-series project to join Starz’s lineup that includes new drama Boss starring Kelsey Grammer, which premiered on Friday;Spartacus: Vengeance, which returns in January 2012; and the upcoming period drama Magic City, which debuts in April. CAA reps Goyer and BBC Worldwide Prods.

Milla Jovovich Blasts Studio Over Lack of 'Three Musketeers' Publicity [UPDATE]

UPDATE: Summit Entertainment responded to Milla Jovovich's complaints via Deadline. "She doesn't know what she's talking about and we don't know where she's coming from. [...] Wouldn't you think she would call us first about this? It's frustrating. It's not the right way to behave. If she has a problem then come to the studio and talk about it." EARLIER: Milla Jovovich took to Twitter this morning to slam Summit Entertainment over its lack of promotion for her new film 'The Three Musketeers.' "Are 'Summit' promoting it as a family adventure movie? Or are they resting on their laurels from 'Twilight' [and] making no effort? Let me know!" the actress tweeted Friday, the day 'Musketeers' opened nationwide. She accused the studio of sweeping the film under the rug in the U.S. and added, "Shame on them. SHAME ON YOU SUMMIT." Jovovich plays the villainous Milady de Winter, who -- in this revamp of the classic adventure tale -- wields a sword along with the Musketeers. The film was helmed by her husband, Paul W.S. Anderson, who also directed her in three 'Resident Evil' films. Summit's hottest property is, of course, the 'Twilight' franchise, which hardly needs more promotion at this point. The studio picked up 'Musketeers' for U.S. distribution but was not involved in production, as they have been with the 'Twilight' films and 'The Hurt Locker.' Jovovich was apparently en route to Japan, where 'The Three Musketeers' will open up the Tokyo International Film Festival. "Do you think ppl know about the movie?" she tweeted. Guess they do now, Milla. [via THR] [Photo: Summit] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

Composer Pete Rugolo dies at 95

Emmy-winning TV-film composer and jazz arranger Pete Rugolo, who done the MGM musical "Hug Me Kate," died in Sherman Trees, Calif., on Sunday. He was 95. The Sicilian-born Rugolo first made his title just like a composer and arranger for your Stan Kenton Orchestra inside the 19 forties, to whom he written greater than 100 plans. He spent couple of years as musical director at Capitol Records inside the late '40s, creating Harry Belafonte's first singles. Rugolo labored with with Peggy Lee, Charlie Parker, Benny Goodman as well as the Four Freshmen throughout his multi-decade career, and provided Miles Davis' seminal LP "Birth in the Awesome" having its title. He labored for MGM for your first half from the 19 fifties just like a staff composer, organizing and creating for studio musicals including "Hug Me Kate," although recording by themself for Mercury Records, where he later offered becoming an A&R director. Rugolo's composition resume includes concentrate on TV series "The Thin Guy," "The Fugitive," "Run for that Existence" and "Richard Gem." He received six Emmy nominations and won two. Rugolo is managed to get by his wife, three children and three grandchildren. Contact the number newsroom at news@variety.com

Carre Otis Particulars Turbulent Marriage To Mickey Rourke In New Memoir

First Released: October 14, 2011 6:14 PM EDT Credit: Access Hollywood Caption Carre Otis talks with Access Hollywood, March. 2011LOS ANGELES, Calif. -- Mickey Rourke received critical acclaim last year for that film, The Wrestler. And throughout the eighties, Mickey was among Hollywoods rising stars having a serious bad boy status. It had been throughout that wild time that Mickey met and married Carre Otis and today, Carre reveals in her own new memoir about her volatile relationship with Mickey, one she claims almost cost her, her existence. He would be a really effective person, that is very magnetizing, enthralling for any youthful girl, Carre told Access Hollywood. Carre, 19 then, was being employed as one within the late eighties when she caught Mickey Rourkes attention. He cast her within the movie Wild Orchid, along with a tumultuous relationship was created. In her own book, Beauty, Disrupted, she claims Mickey was controlling from the beginning which in 1991, things switched harmful. I was on the occur Santa Further ed, Mickey was working, and there is a terrible accident, Carre recounted. There is a gun, his gun, it had been inside a bag. Being unsure of concerning the gun Mickey place in her bag, Carre put the bag lower and also the gun discontinued. I had been hit having a .357 bullet, she stated. It had been about 2 " from my heart. It left through my shoulder. I had been really unbelievably lucky that's didnt hit a bone. Carre claims a battle switched physical in 1992, the very first of several occasions she states Mickey hit her. A repetition for that actor didn't react to a request comment from Access Hollywood regarding Carres accusations in her own book however, he's formerly refused abuse accusations. In her own book Carre also creates about Mickeys violent marriage proposal. She claims he drawn out a sword and stated, Answer me, or I'll die. He'd just return from Japan, and was trying in an exceedingly gallant method to express his passion, which he'd transformed, which he couldnt do without me, she told Access. Basically had ought to sense, I'd have stated, Wow this is actually dysfunctional, and run for that hillsides. They did marry, however, and Carres trouble got worse when she attempted heroin in 1994. She'd already commonly used cocaine like a model in an effort to keep her weight lower. Anorexia would be a constant struggle in her own existence. The drugs [were] a method to medicate and let me remain in that situation. And also to not feel everything I had been feeling, Carre stated. I acquired in over my mind so fast and recognized I had been in over my mind. I had been very fortunate to obtain help and Mickey assisted me to get away from might get treatment. Once sober, Carre went into therapy and embarked on the spiritual path. She divorced Mickey in 1998 now she's married again with two youthful kids. Im a complete-time mother its an entirely fulfilling and rewarding existence, she stated. Copyright 2011 by NBC Universal, Corporation. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Hulu Takes Itself In the Auction Block

Hulu's several days-extended effort to discover a buyer remains not effective.our editor recommendsYahoo Withdraws Hulu Bid (Report) Entrepreneurs in the popular company that enables clients view television films and shows on-demand online mentioned late Thursday they have "ended the acquisition process." News Corp., Disney and Providence Equity Partners., as well as Hulu senior management, launched some pot statement saying, simply, "Our focus now rests solely on making sure our efforts as entrepreneurs lead in the significant approach to the exciting future that's approaching next for Hulu." NBCUniversal, furthermore someone, wasn't stated inside the statement, probably because it relinquished any management responsibilities it could have observed one of the conditions for governmental approval of the merger with Comcast. Hulu introduced a couple of several days ago it had been beginning a investing in an offer process and experts had thought the business might fetch from $2.5 billion-$3 billion, though Thursday's acknowledgment your time and effort remains abandoned signifies which will-be customers weren't ready to spend much cash. Before Hulu attempted to discover a buyer, it had also abandoned an effort to enhance $300 million inside an initial public offering that could have valued the business at $2 billion. Apparently, though, bids in the type of Amazon . com . com.com, Dish Network and Google were coming at below that threshold. Part of the problem, experts have mentioned, is always that bidders, naturally, were reluctant of buying a streaming-media company without guarantees they'd have easy and simple , affordable utilization of Television films and shows once the content partners were in the possession picture. "Since Hulu holds a unique and compelling proper value to each of the entrepreneurs, we've ended the acquisition process and anticipate cooperating to continue mapping out its route to elevated success," the companies mentioned inside their joint statement Thursday. Although Hulu finds it tough to go to public or sell itself inside a value the partners would enjoy, the business is generally seen just like a success story. It collects $7.99 monthly from the million Hulu Plus clients, using its free version it allures about 25 million unique audiences monthly who spend about 206 minutes monthly watching videos -- including specific advertising that clients cannot skip through. The business has such potential that particular influential Wall Street analyst remains blogging for many days that Hulu's entrepreneurs should re-think their plan to sell the business. "Media companies needs to be heading from the approach to retain having Hulu and allow it to flourish," Richard Greenfield of BTIG written in August. "The big media companies have not successful if the involves digital. While it's tough to pin lower why they fail, even if they acquire or buy the best assets, the DNA of traditional media companies seems to own a detrimental impact on just about all digital initiatives. Hulu might be the exception compared to that rule." Related Subjects Google The Wally Disney Company News Corp. Amazon . com . com.com NBCUniversal Hulu Dish Network

The Big Year

Owen Wilson, Jack Black and Steve Martin set out to break bird-watching records in The Big Year. A 20th Century Fox release of a Fox 2000 Pictures presentation of a Red Hour Films/Deuce Three/Sunswept Entertainment production. Produced by Karen Rosenfelt, Stuart Cornfeld, Curtis Hanson. Executive producers, Carol Fenelon, Ben Stiller, Jeremy Kramer. Co-producer, Brad Van Arragon. Directed by David Frankel. Screenplay, Howard Franklin, inspired by the book by Mark Obmascik.Stu Preissler - Steve Martin Brad Harris - Jack Black Kenny Bostick - Owen Wilson Raymond - Brian Dennehy Annie Auklet - Anjelica Huston Ellie - Rashida Jones Jessica - Rosamund Pike Brenda - Dianne Wiest Edith - JoBeth WilliamsSeeking to capture the fan/collectors/enthusiast gene, "The Big Year" uses Mark Obmascik's book about obsessed "birders" and transforms it into a genial if slow-moving, almost sleepy comedy. Steve Martin, Jack Black and Owen Wilson play the central trio -- each at different stages of lives they put on hold to pursue their shared passion -- in a contest to eclipse what amounts to the Babe Ruth home run record of bird watching. Director David Frankel's pic delivers sweet and (more rarely) amusing moments, but this odd duck never completely gets off the ground, and box office ought to mirror that flight path. Loosely inspired by Obmascik's chronicle of three men vying to top each other during "the Big Year" competition in 1998, Frankel ("The Devil Wears Prada" and "Marley & Me," reunited here with Wilson) and screenwriter Howard Franklin loosely start with that template as a foundation to explore what's really important -- the ways people and their loved ones accommodate activities that become all-consuming. "You can't compare golf to this. Golf is like a hobby," explains Wilson's Kenny Bostick to his frustrated wife (Rosamund Pike), later trying to rationalize missed events and blown deadlines by saying, "This is what I'm great at." Indeed, Bostick holds the birder record, having sighted 732 North American birds in a single "big year," which beckons to his two principal competitors: Stu Preissler (Martin), a rich businessman whose wife (JoBeth Williams) is more resigned to his yearlong flight of fancy than are his harried subordinates, who keep pleading with him to put out fires at work; and Brad Harris (Black), a divorced 36-year-old computer programmer who gets a mixed reaction to his obsession from his adoring, supportive mom (Dianne Wiest) and gruff dad (Brian Dennehy). Given Kenny's ruthlessly competitive nature, Stu and Brad (who doubles as the narrator) strike up an unlikely friendship. Mostly, though, the protagonists' paths intersect fitfully as they crisscross the continent responding to weather and seasonal patterns that will theoretically help them pad their totals. Beyond the leads, Frankel and company have aided their cause immeasurably by casting the movie to the hilt, with accomplished actors like Rashida Jones, Tim Blake Nelson, Anjelica Huston and Jim Parsons in what amount to minimal "there are worse ways to spend your TV hiatus" roles. Pic also makes appropriate use of various avian-related songs, including "Surfin' Bird" as Brad's ringtone. That said, the story unfolds slowly, and the running tally of bird sightings and calendar dates popping up onscreen only provide a frequent reminder of the laborious march until Dec. 31, when the competition ends. Nor does "Big Year" completely work as a travelogue, despite destinations that range from a remote Alaskan island to the Everglades. Like the central characters, the narrative can't see the forest, as it were, for the birds. For all that, there are some welcome aspects to the production, including a lack of big slapstick elements. Yet by eschewing broad, easy laughs, Frankel only reinforces a sense of this being less a bigscreen comedy than an inordinately well-cast Hallmark movie. Admittedly, there ought to be room for this sort of unassuming exercise movie in the theatrical space, but given the shifting winds, a project like that has to be almost pitch-perfect to stick the landing. As is, "The Big Year" is pleasant enough, but finally suffers -- pardon the analogy -- from being neither fish nor fowl.Camera (Deluxe color, Panavision widescreen), Lawrence Sher; editor, Mark Livolsi; music, Theodore Shapiro; music supervisor, Julia Michels; production designer, Brent Thomas; art directors, Michael Diner, Martina Javorova; set decorator, Peter Lando; costume designer, Monique Prudhomme; sound (Dolby/SDDS), David Husby; supervising sound editor, Paul Urmson; visual effects supervisor, Eric J. Robertson; associate producer, Jeffrey Harlacker; assistant director, Jim Brebner; casting, Margery Simkin. Reviewed at Fox Studios, Los Angeles, Oct. 12, 2011. MPAA Rating: PG. Running time: 100 MIN.With: Jim Parsons, Joel McHale, Kevin Pollak, Tim Blake Nelson. Contact Brian Lowry at brian.lowry@variety.com

Another Surprising Elimination On Dancing

First Launched: October 11, 2011 10:41 PM EDT Credit: ABC Caption The cast of Week 4 of Dwts, March. 10, 2011LOS ANGELES, Calif. -- It absolutely was movie week on Dwts, but despite inspiration in the box office smash, one celebritys performance shown to become ballroom blast, leading to their elimination within the competition. (Spoiler: This story includes the final results from Tuesdays Dwts: The Final results Show.) It truly will be a Mission: Impossible for Chynna Phillips and professional partner Tony Dovolani, who carrying out a disastrous tango for the theme within the Tom Cruise box office franchise (and initially, the sixties television series) increased being the fourth couple being cut within the competition. Im disappointed. Im sad, however i should be responsible, Chynna mentioned, mentioning to her dance on Monday where her mind went blank and he or she did not remember her steps only throughout with subtle cues from Tony. I messed up, she ongoing, before adoring Tony, calling her Season 13 partner, amazing. Chynna was a leaderboard leader, being launched strong in Week 1 getting a tie for your top place (with J.R. Martinez and Karina Smirnoff) after which, landing inside the top half of rivals each week. On Monday, however, Chynna and Tony received their least expensive scores, tying Chaz Bono and Lacey Schwimmer, and Nancy Sophistication and Tristan MacManus for sixth place. Nancy and Tristan, additionally to Make the most of Kardashian and Cheryl Burke, were another rivals who did not learn their Dancing fate prior to the finish in the evening on Tuesdays results show. AH Nation Poll: Did the very best person return home on Dancing? Follow The Link to election! Chaz and Lacey were saved very in the beginning during the night, and Chazs mother, Cher, even Tweeted she hopes revisit the ballroom to cheer on her behalf account boy. YEAH ! CHAZ Can get 2 DANCE ANOTHER WK! THANK U, Cher Tweeted in many caps since the show ended. Works This Suggest IM ABOUT 2B CAST Part Of DWTS? I'd HAVE another CAMEO UP MY SLEEVE. Aside from the elimination news, Dancings own silver screen beauty two-time mirrorball champion Julianne Hough returned for the ballroom the first time in than couple of years, undertaking a modern day dance with a slowed down lower-lower version of Ready For Just About Any Hero alongside her Footloose co-star, Kenny Wormald. As that number found the final outcome, a lot of ballroom ballroom dancers in Footloose style clothing, hit happens revealing their line dance moves, as country star (and coach on NBCs The Voice) Blake Shelton completed the Kenny Loggins classic Footloose, they re-did for your movie reboot. The dances received a standing ovation, getting Julianne to tears. Im emotional, Julianne recognized. Later, she reunited with brother Derek Hough, while using stage getting a rousing dance full of movies and fancy moves to Shake A Tail Feather. Dwts returns due to its fifth week of competition on Monday at 8/7 C on ABC. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Tom Six on The Human Centipede II and What's In Store for His American-Set Trilogy Ender

Dutch filmmaker Tom Six cut a striking figure last month at Fantastic Fest, where he appeared — ever-smiling and clad head to toe in a pristine white suit, his outfit of choice — to world premiere his squirm-inducing body horror sequel, The Human Centipede II (Full Sequence). The following day Movieline spoke with Six about the film, in which he meets the challenge of one-upping himself in the escalation of extremes in gory, grotesque detail. Upon hearing that an audience member fainted the previous night, Six professed his sympathy. He was sorry to hear it, he said with a grin. Well, maybe not completely sorry. In person, the ebullient Six is rather cheerful for a guy who spends all his time dreaming up new ways to up the ante in a genre that’s already seen the heights of “torture porn” come and go. He’s already set to complete his Human Centipede trilogy, in which unfortunates so far in two countries and two films have discovered the hard way what happens when sick individuals decide to play god by stitching people together, end to end. His next and final Human Centipede target is America, which should be interesting; Six says he loves the United States — but he also counts Borat and the works of Lars von Trier among his favorite influencers. Read on and get to know Six, his artistic intentions with the Human Centipede trilogy, where he draws the line of good taste, why he doesn’t seem to mind distributor edits to his director’s cut of The Human Centipede II, and more. (Some spoilers follow.) So, your movie world premiered last night. Yes. I presume by now you’ve heard what the audience reaction was like? I was there, and I got the first reactions from the audience. They were all numb, coming out. Like, ‘Oh my God.’ Are you aware that a woman fainted towards the end of the film? Yeah! I heard. I was sitting next to her. That’s incredible, huh? I missed your Q&A because I was calling an ambulance for her. Oh no! I heard from people that two more people were [incapacitated]. But people have had violent, physical reactions to your work before. How much do you expect this kind of extreme reaction — and does it please you to hear when people do have them? Secretly it pleases me — of course, as long as people don’t get really hurt. But when I was making this film, when you make a film and write it and edit it, you are so busy with the material you forget how nasty it is. So for me, when people have reactions to what they see it’s very hard for me to think, ‘Oh, it is really gruesome.’ Because I’ve seen it so many times. You’re desensitized to it, then. I am. I am, definitely. The woman who fainted next to me said that the best part about her ordeal was that it reminded her she was human. Wow. That’s powerful stuff! Nonetheless, the things you put onscreen are so extreme, so viscerally stomach-churning… Yes, but I think that’s the core of filmmaking. If you make a great comedy and you’re laughing your ass of and you’re really hurt from the laughing — I love that. If a film in any way does that with you, that you’re really fucked up or you have a strong emotion, then it works I think. Because it’s terrible if you see a film and you don’t care. True. But do you think there’s such a thing as going too far? No, not in my world. I hate animal cruelty so I would never do anything with that in any of my films, but in my opinion it’s film, it’s make-believe, it’s art. It’s actors coming in, and we have lots of fun on the set. How can it go too far, then? Out of curiosity, what was your approximate bodily fluid budget on this movie? Oh, they brought in so much of the stuff. My sister Ilona [Six] does all the budgets so I don’t really care about them. The set must have been… Oh, it was a mess. And for the actors to lie in all the stuff, it was horrendous for them! They went home covered in all sorts of things. I don’t know how to describe this, exactly, but the moment when everyone in the centipede begins… let’s just say, the projectile scene. Yeah! That was a cool effect, eh? They put this little machine, like a blowing machine, between the legs of the actors and it [makes exploding sound] splatters on the wall. It’s all fun, and the actors think the same thing. Everybody was laughing all the time. The Human Centipede II follows the first film by building on it in an overtly self-referential way. Was this always the approach you knew you’d take back when you first conceived of the first film and possible sequels? Oh yeah, definitely. I had so many ideas when I was writing Part One and I couldn’t put them all in Part One, of course, so I wanted the audience to get used to this crazy idea first. That’s why it’s all psychological. And I knew the sequel had to have everything there. The blood, shit, gore — everything. So that’s why I tell the audience that part one is My Little Pony compared to part two. And that’s pretty accurate. I have to say, I didn’t believe a lot of those quotes you gave before I saw the film. I thought you were just hyping it up, but the sequel really is that much more extreme. So how can you possibly go any further in a third Human Centipede? I can because every film is different. Part One is so very different from Part Two, and I’m sure people find the psychological horror maybe more disturbing than seeing it on the screen. So with Part Three I go in a totally different direction again, and there are some scenes that I think are worse than Part Two — but in a whole different way! So it’s up to the viewer if it’s worse or whatever. [SPOILERS] Which scene do you actually consider the worst, hardest to watch moment in The Human Centipede II? For me, the rape scene. Then you get really uncomfortable. [END SPOILERS] That’s actually the last scene the woman who was sitting next to me remembered. And the scene goes on for quite a long time, which is part of the reason why it’s so unsettling — there’s nothing else on screen. There’s no escaping it. There’s nothing else. I knew it’d be so powerful because on set, people were crying. My script girl… real tears. They couldn’t handle it. The sound guy had to leave because it was too intense. But the actors who played it, they loved to play it. That’s the contradiction; they were really happy to play that scene, but they made other people cry. And I was jumping with joy, of course, because I knew— That it worked. Yes! It was working. On the subject of your director’s cut being edited for certain audiences, it seemed ridiculous for the U.K. to ban the film outright. [An 18-certification was granted this week.] But in America your distributor, IFC, is also editing down the film to remove the most difficult parts. Yes. How are you not bothered by that? Of course I want the audience to see my film. As a filmmaker, you make a film in the way you want to show it to the audience, but there are of course political things going on with cinemas, and other people are involved. Some things are maybe not legal or whatever, I don’t know about that. But I want my film to get out there, in any way it can. And they’ll do a director’s cut on DVD. So the trade-off is okay with you. Yeah, sure. Definitely. And people have the choice; there’s a version with some extreme things taken out, and I think it’s only a few minutes they had to take out. People can see almost all of it. But maybe it’s a good thing that some people are missing [said scenes]. Have you encountered any fans of The Human Centipede as obsessed with it or you as much as your Human Centipede II villain, Martin? Oh, you meet very colorful persons. I once had a lady sew three Barbie dolls together and she gave it to me — and she gave it to me without smiling. Very serious. Then you think, ‘Hmmm…’