An Interesting Guy (Dirch)

A Koncern Film and Nordisk Film Push. presentation of the Rieks/Zandvliet/August production. (Worldwide sales: LevelK, Copenhagen.) Created by Mikael Christian Rieks. Executive producers, Jens Ulrik Pedersen, Rieks, Lena Haugaard, Henrik Zein. Directed by Martin P. Zandvliet. Script, Zandvliet, Anders August.With: Nikolaj Lie Kaas, Lars Ranthe, Lars Brygmann, Morten Kirskov, Malou Leth Reymann, Silja Eriksen Jensen, Frederikke Cecilie Bertelsen, Laura Christensen, Martin Buch, Laura Bro.Substantially less interesting than 2009's "Applause," director/co-scenarist Martin P. Zandvliet's sophomore narrative feature, "An Interesting Guy," charts the existence of greatly popular late Danish comedian Dirch Hartvig Passer. Outcome is handsomely created and well behaved, especially by lead Nikolaj Lie Kaas ("Siblings," "Angels and Devils"), but never handles the type of mental insight that may transcend its portrait-of-a-tortured-artist cliches. Pic is not prone to make a bigscreen impact beyond areas where its subject is famous and appreciated. Whenever we first meet Dirch within the late nineteen fifties, he's already a large hit as you 1 / 2 of a comedy team with best friend Kjeld Petersen (Lars Ranthe) -- and already fully neurotic about this, putting us in an immediate downside to focusing on how the 2 grew to become so effective, or why Passer am insecure about his talent. By comparison, Kjeld is brash and confident, though chagrined because his partner is unquestionably the public's favorite. Kjeld also offers a consuming problem that eventually forces an finish for their professional union, one elevated just briefly when he's at death's door in 1962. (His health issues and Dirch's later ones are extremely sketchily attracted that certain must assume "An Interesting Guy" is made mainly for auds who know the comedians' existence tales thoroughly.) Within the interim and after, Dirch chases a solo career, jonesing to become appreciated like a serious actor but pigeonholed like a comic. Among the pic's couple of fully developed dramatic arcs is his determination to experience tragic simpleton Lenny within the play of John Steinbeck's "Of Rodents and Males." However when that dream reaches last recognized, audiences assume from his presence it's supposed to have been a laff riot. Protag's struggles with public image, tricky handlers, alcohol, self-esteem and mental health, as well as his several unsuccessful marital associations and erratic paternal ones, are sputteringly described inside a script (by Zandvliet and Anders August) whose episodic progress never connects right into a coherent whole as well as spans a obvious timeline. (When Kaas all of a sudden sports old-age makeup within the late going, we now have no clue the number of decades have passed by, or how Dirch has spent them.) Among a general strong cast, toplining thesp is definitely absorbing to look at, recommending difficulties of character the writing can't or will not flesh out. It isn't his fault that (a minimum of for audiences not really acquainted with Passer's work) the reconstructions of beloved programs fall flat. Evidence here indicate that, like such American contemporaries as Sid Ceasar, Milton Berle and Jackie Gleason, Dirch possessed a type of comic genius that merely is not in synch with this style of humor today. Glossy widescreen pic offers lots of colorful period trappings, assigned by an "Everything Jazz"-style production number melding biographical summary and showbiz fantasy. Regrettably, like a lot here, that splashy finale looks and sounds good without truly revealing anything concerning the figure carrying out at its center.Camera (color, widescreen), Jesper Toffner Rasmussen editor, Per Sandholdt music, Sune Martin music supervisor, Jeppe Kaas production designers, Charlotte now Bay Garnov, Peter Grant costume designer, Stine Gudmundsen-Holmgren seem (Dolby Digital), Johannes Elling Dam assistant company directors, Anders Barlebo, Mette Kjaergaard casting, Gro Metha Therp, Ditte Kiel. Examined at Toronto Film Festival (Contemporary World Cinema), Sept. 11, 2011. Running time: 109 MIN. Contact the range newsroom at news@variety.com

Toronto: Festival Says Dealmaking Up 20%

I have my own thoughts about the acquisition activity that took place over the past week at the 2011 Toronto Film Festival, and will provide it Monday. For now, festival organizers are banging the gong and claiming victory. TORONTO The Toronto International Film Festival is pleased to announce significant sales have been negotiated during the Festival. To date, more than 31 films have been sold to territories in North America, Europe, The Middle East, Asia, South America, and Australia, with more sales expected to be announced in the coming days. Key acquisitions include: Shame, Trishna, Wuthering Heights, Killer Joe, The Lady, Goon, God Bless America, Elles, Your Sister’s Sister and Into the Abyss. Nearly 4,000 industry delegates attended the Festival this year a 20% growth over 2010 and worked closely with the Festivals Sales & Industry Office, which facilitates information sharing and fosters relationships between accredited buyers, sales agents, producers and filmmakers. It’s good to see that the Festival has once again provided a solid foundation to facilitate film sales, said Cameron Bailey, Co-Director of the Toronto International Film Festival. Our organization exists to bring films to audiences around the world and we could not be more delighted to report that these outstanding films will reach film lovers in all corners of the globe. Film sales confirmed to date include: Beauty, Beloved, Elles, Free Men, Generation P, God Bless America, Goon, Hysteria, The Hunter, Into the Abyss, Killer Joe, Last Days in Jerusalem, Life Without Principle, Your Sister’s Sister, Sarah Palin You Betcha!, Shame, Terraferma, The Awakening, The Incident, The Lady, The Raid, This is not a Film, Wuthering Heights and You’re Next. The 2011 Toronto International Film Festival runs until September 18 and wraps up with an Awards Reception at noon that day.

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Creative England taps Norbury

LONDON -- Caroline Norbury has been named as chief exec of Creative England, the new funding body for filmmaking in the English regions outside London. She was previously CEO of South West Screen, and has served as interim establishment director of Creative England since June. From October, Creative England will take over the task of providing lottery coin to filmmakers outside London from the old network of eight regional screen agencies, including South West Screen, EM Media and Screen Yorkshire. These agencies have played a significant role in funding British films and nurturing new filmmakers since they were founded a decade ago In its first year, Creative England will receive core funding of 4.5 million ($7.2 million) from the British Film Institute, including $3.2 million in lottery coin and $4 million in government grant. Along with its initial responsibility for supporting regional filmmakers, its mandate will also expand to include TV, games, digital and creative services. Our first big job is to make sure there is a seamless transfer of film provision for England's rich and varied industry outside of London, and to get Creative England staff in place to deliver that service," Norbury said. Some of the old regional screen agencies, such as Northern Film and Media, will continue to operate with other sources of public and private funding, whereas others are planning to wind down their activities and transfer all their functions to Creative England. Contact the Variety newsroom at news@variety.com

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'Point Break' to become Remade by Alcon and Warner Bros.

Point Break, the 1991 thriller set against the field of surfing, gets a serious-sports make-over, thanks to Alcon Entertainment and Warner Bros.our editor recommendsBin Laden Filmmakers Kathryn Bigelow, Mark Boal Shoot Back at Republican Congressman'Buffy' Remake Finds a house at Warner Bros.'Dirty Dancing' Kenny Ortega: 5 Reasons For the Remake Director Within the original film, directed by Kathryn Bigelow, Keanu Reeves starred as Johnny Utah, an undercover FBI agent searching for a gang of bank thieves, brought by Patrick Swayze's Bodhi, among the Los Angeles surfing scene. The brand new version, having a script by Kurt Wimmer (Salt), is going to be occur the field of worldwide extreme sports as well as involve an FBI agent breaking through a criminal ring. VIDEO: George Clooney Talks Warner Bros. 2012 Release 'Gravity' Alcon co-founders and ce-CEOS Andrew Kosove and Broderick Manley guaranteed privileges towards the project, that is marking its 20thanniversary, from Singapore-based RGM Media, John McMurrick and Chris Taylor. Kosove and Manley will produce together with Michael DeLuca, John Baldecchi, Taylor and Wimmer. RGM Media principal Devesh Chetty and investor McMurrick, chairman of Marloss Entertainment, assists as executive producers. PHOTOS: Summer time Movie Guide The film, which Warners will distribute, has been fast monitored, using the filmmakers set to accept project to company directors soon. The initial movie was created by Largo Entertainment and launched by Fox. Additionally towards the feature privileges, Alcon has additionally guaranteed television and gaming privileges to suggest Break. "Who does not love the Kathryn Bigelow original and it is pure heart-pounding action and thrills? Kurt's take infuses the storyline and figures with new twists and configurations," Broderick and Kosove stated. STORY: Summer time Box Office Success Overseas Can lead to New Industry Record "Point Break wasn't only a film, it had been a Zen meditation on testosterone fueled action and manhood within the late twentieth century and that we aspire to produce the same for that youthful 21st!," DeLuca added. Related Subjects Katherine Bigelow Kathryn Bigelow Keanu Reeves Warner Bros. Patrick Swayze

Entourage Series Finale: How a Heck Did We Have Here?

Entourage [Spoiler alert! The following unveils major plot points within the series finale of Entourage.] Some boys from Queens left on jet planes as Entourage ended its eight-year work on Sunday. The finale found the majority of the figures in different places in which the series started, but we're still under sure how everyone showed up. Here are a couple of in our finest burning questions from and criticisms in the last episode: 4. No passion for Turtle and Drama? The best episode honored the main guys' number of four - in addition to described inside the scene when Turtle (Jerry Ferrara) calls Sloan and Eric's developing fetus "our baby" - so that it was disappointing that a few some males didn't cash to accomplish besides follow Eric and Vince around simply because they made their large existence options. Sure, between Vince (Adrian Grenier) getting betrothed and Ari (Jeremy Piven) quitting the organization, there has been already enough major existence changes with this particular 30-minute episode, nevertheless it might have been nice to find out the thing that was next for Turtle and Drama (Kevin Dillon). Did Turtle take advantage from the $4 million he got from Avion stock to start an italian guy , restaurant? Here's wanting he is not prone to just relax and do nothing at all whatsoever along with his money, because Vince may have written him an inspection in the past and saved him plenty of trouble. After watching his career vacillate so suddenly for a number of years, what's Drama's next move following a TV movie (you understand, one which Vince required to replace on him?) Entourage creator Doug Ellin concerning the finish, the backlack then when fans could possibly get a movie 3. How did Eric and Sloan's love story get so melodramatic? Audiences are actually devoted to the need-they-or-won't-they dynamic between Eric (Kevin Connolly) and Sloan (Emmanuelle Chriqui) immediately. However, rather than previous seasons, when the couple's major breakup happened off-screen, fans got a sizable taste in the pair's bitter split. But instead than putting the enjoyment in dysfunctional, the Eric-and-Sloan saga felt as being a rejected idea for your short-were living Melrose Place remake. Yes, thank heavens they ended up together, but after a lot of there is a period allotted to petty issues Sloan ended up tossing your window ultimately anyway. (How do she not care whatsoever that her father desires to shoot her baby father? Thanksgiving will most likely be so awkward!). And, truthfully, ultimately it absolutely was the unplanned baby that really introduced them together -- not love, not Vince, not other activities. An extremely underwhelming ending for your once-truly wedding couple. 2. Did Ari have to sacrifice everything being happy? Ari's complete unraveling in Season 8 was unquestionably most likely probably the most interesting narrative, nonetheless its resolution wasn't nearly as satisfying since it should have been. Yes, it's good he and Melissa (I guess I order that status for Mrs. Ari) came back together, but simply what does it mean if he required to sacrifice his life's work making it meet up and also the wife didn't have to do anything? Entourage is actually about Hollywood, but furthermore about how precisely some boys from Queens didn't require fame, the glamour as well as the glamour to relish existence. Vince as well as the gang were usually okay with putting their personal happiness first. Same goes with that what Ari needed from his friendship while using boys every one of these years? Nonetheless, it felt like Ari denying who he's really. Ari's epilogue - through which he's offered the opportunity being the Boss and chairman of the large media company basically per week after running away along with his wife - made an appearance a far greater endnote, but furthermore felt as being a set-up for your planned film. Have a look at photos from Entourage 1. Why did Vince have to fall crazily for each other? Throughout the time from the series, the show was possibly a little more about Eric and also the journey from pizza boy to manager wunderkind alongside his celebrity nearest friend. After eight seasons of featuring Eric just like a hopeless romantic, it only made sense for your finish of his story being tied so carefully with a mate. Why did Vince's journey have to be twisted up within this clichéd fashion? Vince's finest triumphs and most difficult falls were never consequently of ladies (save for Mandy Moore, rapport the authors did a better job of showing in comparison to 1 he instantly has with Sophia). Does Vince deserve to discover a nice girl and be happy like everyone else? Sure. Why so rushed? And why did he and Sophia have to prove their love through getting married (and hello? Would someone like Sophia, a wise lady who most recently dated your physician from Johns Hopkins, really marry someone like Vince following a few days? In my opinion not). After two crazy whirlwind romances plus much more one-evening-stands than Wilt Chamberlain, couldn't the authors have just left it at, "I met a enjoyable girl! I'm deeply in love with her! We'll see where it's goingInch and let viewers' creativity proceed and take wheel. Much more logical was Vince's final save for Eric, and also the subsequent letting-go of his nearest friend once-and-for-all. Deep-lower, the series was always in regards to the friendship between these four males, and just because friendship morph into something totally new and less codependent for Eric and Vince felt right. Whoever else consider the finale? Weigh in and share your opinions below!

BMG acquires author Bug Music

Ongoing its aggressive acquisition of posting companies, BMG Rights Management is acquiring L.A.-based Bug Music. Berlin-based firm apparently has EMI, or its posting holdings, within the sights. The Bug deal, regards to which have been not introduced, brings a catalog more than 250,000 copyrights to BMG. Plans include such evergreens as "Fever," "This type of Wonderful World," "I Walk the roadInch and "Beneath the Boardwalk." Bug reps the estates of Johnny Cash, Willie Dixon, Muddy Waters, Woodsy Guthrie, Del Shannon and Stevie Ray Vaughn, additionally to Pete Townshend, Iggy Pop and Ryan Adams. Roots music and Americana really are a particularly strong suit. Founded by Serta Bourgoise in 1975, firm was bought by Spectrum Equity in 2006. It bought the Windswept Music and Trio/Quartet catalogs in 2007. Company has furthermore been associated with joint endeavors with Kara DioGuardi and Jamie Foxx. Throughout the final three years, BMG Rights Management -- a partnership of Bertelsmann AG and investment firm Kohlberg Kravis Roberts -- remains getting upset up entrepreneurs inside a record pace. Purchases have incorporated Chrysalis, Cherry Lane and Evergreen. The business looks like it's within the quest for EMI, which controls a posting catalog of a single.3 million tunes in the market-leading pubbery. Citigroup's auction of EMI has proceeded quietly, plus it remains unknown if BMG Rights Management has purchase just EMI's posting side or perhaps the whole of the label and posting holdings. EMI topper Roger Faxon has advised Citi to promote the business intact. Contact the number newsroom at news@variety.com

Rumor: Henry Cavill's Too-Sexy 'Man of Steel' Suit May Have to Go

There's been a lot of talk about how hot Henry Cavill is in the skintight 'Man of Steel' suit, but his pants-less look is pulling focus for all the wrong reasons. Showbiz Spy reports that too many comments about Superman's super package are making producers rethink the entire costume. Doubtful, but let's have some fun. "All everyone's talking about is Superman's crotch and those missing pants," an unnamed movie insider tells the site. "The new look was supposed to create new interest in a classic character but the way things are going Superman may be forced to get his pants back on. It's either that or 'Man of Steel' could be the first R rated Superman movie!" Uh-huh. And this is the part where we refrain from riffing inappropriately on the film's title. We'll just note that the area seems rather prominently lit. (We're not staring. We swear.) What do you think? Is the suit too sexy for Superman? [via Showbiz Spy] Photos courtesy of Warner Bros. and the 'Man of Steel's' Facebook page.