Heidi Helen Davis dies at 60

Heidi Helen Davis, a director, actress and teacher of those arts known for her work at Los Angeles' Theatricum Botanicum, Mark Taper Forum, East West Players and Ensemble Studio Theater, died Dec. 15 in Los Angeles after a yearlong struggle with breast cancer. She was 60. Davis staged more than 20 plays at Theatricum Botanicum since 1985. Artistic director Ellen Geer said: "She had a way of working with actors that allowed risk and complete exploration guided by instinct. I saw a piece of hers about Japanese internment camps in the late '80s. Remarkable direction. I asked to meet her and she was my compatriot in art from then on." Davis' memorable productions at Theatricum included her adaptation of "The Cherry Orchard" set in the Old South, "Our Town" and "Long Day's Journey Into Night." Davis attended Cal Poly State U. and then trained in San Francisco with Phillip Pruneau of the Poverty Players and at the city's American Conservatory Theater under the direction of Bill Ball and Allen Fletcher. She appeared in ACT productions including "Peer Gynt," "Heartbreak House" and "The Little Foxes." She taught numerous acting and directing students over the years, most recently at the Academy of Art U. in San Francisco, Howard Fine Studio and the Los Angeles Film School. She was also the acting coach on the Showtime miniseries "Fidel" in 2000 and on the feature film "Memoirs of a Geisha" in 2003. James Pasternak, a colleague at the Los Angeles Film School where she taught from 2001 to 2010, said: "She taught film directors how to direct actors. Her mastery was immediately recognized and she was given her own studio at the school. She was fearless in her quest for dramatic truth. She had an uncanny diagnostic talent, derived from her own successful directing, that helped other directors find a unique vision of their movie, and a way to collaborate with the actors and crew to realize that vision. The whole school is in mourning." After staging its world premiere at [Inside] the Ford in L.A. in 2010, Davis directed the U.K. premiere of E.M. Lewis's "Song of Extinction" -- a play centering on a teen coming to grips with his mother dying of cancer -- at Venue 13 for the Edinburgh Fringe Festival. At the time of her death she was directing a class production of "Loose Ends" at Academy of Art U. Born in 1951 in Wichita, Kansas, Davis grew up in Palo Alto and started writing and directing theater as a child. Her marriage to cinematographer Lloyd Freidus ended in divorce. She is survived by a son, her parents and three siblings. Donations may be sent to the Heidi Helen Davis Intern Fund at the Will Geer Theatricum Botanicum, P.O. Box 1222, Topanga, CA 90290. A public memorial at Theatricum Botanicum is planned for next spring. Contact Variety Staff at news@variety.com

Wim Wenders on Pina, 3-D Epiphanies and Until the End of the World at 20

After more than four decades of creative peaks, valleys, experiments and triumphs that have established him as one of the most eclectic filmmakers of his generation, Wim Wenders has ventured into entirely new territory for his new documentary Pina: 3-D. The film’s subject — the late, legendary choreographer (and Wenders’s longtime friend) Pina Bausch — likely wouldn’t have wanted it any other way. Part concert film, part biography and all warm-hearted tribute, Pina profiles Bausch’s work and influence both through the eyes of her colleagues and against the backdrop of the world that inspired her. Wenders frames this legacy vividly — from a stage lined with soil to a somnambulant stroll through the park to a vaguely hallucinatory trip on a hanging commuter train — while the 3-D technology entitles the dances themselves to the space and dimension that eluded the director over decades of previous attempts to collaborate with Bausch. The results have moved festivalgoers from Berlin to NY and Los Angeles, and they finally reach U.S. theaters this week in limited release. Wenders spoke with Movieline about Pina, Pina, pushing the limits of 3-D, the 20th anniversary of his great, globetrotting Until the End of the World, and how to enjoy the reviled Lou Reed/Metallica collaboration LuLu. Pina has caught on quite dramatically since premiering earlier this year in Berlin. What’s your take on the reaction — and having reestablished Pina’s legacy onscreen? I think the reaction by audiences by audiences not only in Europe and America — but also by critics — is really a reaction to the beauty of Pina’s work. A lot of people have caught on to the film in very emotional ways. I think they are surprised and at the same time happy that there was something they may have missed there, but now they can at least see it right in front of their eyes. Obviously you and Pina go back quite a ways, but how and when did this kind of collaboration first arise? You have to go back a quarter of a century. We first started to talk about it in the mid-’80s, and then we just toyed with the idea. We really took it more seriously in the ’90s, and it was Pina who pushed for it. As soon as she did, I realized, “We’ve got to do this.” I had to sit down and write out a concept and actually write out how I would do this — how I would film the glory of Pina’s dance. I realized I didn’t have, in my craft at least, what it took to make it happen. I felt I didn’t have the adequate tools, and the more I thought about it, the less I was convinced I could do justice to Pina’s art with my possibilities as a filmmaker. It was the invisible wall between what Pina did onstage and what I could put on the screen. I was honest to Pina and told her, and she was patient with me. She said, “Eventually you will find it. There’s got to be a way.” And that was a running gag between us for more than 10 years. “When are you ready, Wim?” And I said, “Not yet, Pina.” Until I found a way — and that was not in myself, not in my soul or in my heart. I found out all of the sudden that there was an addition to my craft that I had not known yet. And that was called 3-D. What was your first reaction to the resurgence of 3-D and its improved technology, particularly as a filmmaker? I was sitting in a theater putting on these glasses for the very first time… I mean, I’d done it 40 years ago for some Hitchcock movie, but that was long ago. I even remember in the ’90s, I saw a Cirque du Soleil film in 3-D. But the technology wasn’t really available. So 3-D was altogether forgotten, and it had never really been an option for us when we thought how to do it. And all of the sudden I’m sitting there with these glasses on, not thinking of much, really. I saw a film called U2 3D — a very early 3-D film, one of the first on the market. I thought it would be fun to watch a 3-D concert. But from the first shot on, I was mesmerized. I almost didn’t see or hear the film anymore; I just saw the possibilities. And the possibilities were the answer to 20 years of questioning ourselves how to film dance. There it was, because for the first time we could enter the very kingdom of dance — and that was space. It hit me that that had been the invisible wall — that we had never had access to that kingdom. How did you select the pieces that were most compatible with 3-D? How did you determine they were compatible? We selected the pieces together — Pina Bausch and I. Their compatibility with 3-D was striking. In a strange way, Pina’s dance and 3-D were made for each other from the beginning. It was like a match made in heaven; it was beautiful, this affinity for each other. From the beginning, I knew they were made for each other, and they would bring out the best in each other. Say, for instance, Caf Mller and Le Sacre du Printemps — the first ones that we chose. Caf Mller is a stage full of these chairs and these dancer running through these chairs, and the space itself is so beautifully staggered with these objects — these chairs — you couldn’t have thought of it in a more ingenious way for a 3-D shoot. And Vollmond (Full Moon), the last piece we shot — with this water onstage, and all this water coming down and being splashed toward you? It was like it couldn’t have been choreographed more nicely for 3-D. Beyond the dances, though, some of the scenery and logistics themselves are stunning. What went into deciding to shoot on a train or in a traffic intersection? When we started to shoot that was all wishful thinking, because we started in 2009 — the infancy of 3-D. There was not much equipment available. The first leg of the shoot we shot on the stage with this huge monster — this huge dinosaur — of a crane to carry the equipment. We would not have been able to go into the hanging train or the city; the equipment was not light enough. And to shoot with Steadicam was completely wishful thinking on the first leg. You have to remember this was months before Avatar even came out. You couldn’t just rent any equipment. It wasn’t available. And then my stereographer realized how badly I wanted to get out into the city, and he singlehandedly created the first Steadicam rig that was available — at least in Europe — and with the very first generation of cameras that were mobile, we went out and shot out and about in the city. That was the next spring. There just seem to be so many onlookers out in the city. Were people curious? I swear to God, nobody seemed to know what we were doing there. And Wuppertal is an industrial, working-class city. They don’t care about some film crew standing on the corner. We were left alone as much as Pina was left alone for 40 years. That’s what enabled her to work in that little city and work with that continuity. She was able to work unobserved. How much of directing itself is in fact choreography? Say, between actors, or with the camera, or with actors and the camera against space? In the case of Pina, the choreography already existed, and I had to respect it. And I wanted to respect it as much as possible. My choreography was the choreography of the camera — a sort of reverse-angle choreography: I had to make the cameras sort of react and dance along to Pina’s choreographer. So I was a choreographer of the camera. I probably was such a choreographer after my initial meeting with Pina, which was in the mid-’80s. I instantly got high doses of Pina; I was so blown away with everything that was available that I saw a retrospective of six in a row, and that was, of course, not quite an overdose, but definitely mighty doses of Pina Bausch that really changed my life. And the first movie I did afterwards was Wings of Desire, which by any standard was the most choreographed film I ever made. There was a circus, a trapeze artist… It was a very choreographed movie.

Julia Roberts to get PGA Recognition for 'In the Land of Bloodstream and Honey'

Julia Roberts continues to be recognized on her global humanitarian work, and today her directorial debut, 'In the Land of Bloodstream and Honey,' has been honored because of its "provocative social issues" through the Producers Guild of America. Jolie will be provided using the guild's 2012 Stanley Kramer Award at their honours ceremony on Jan. 21. "'In the Land of Bloodstream and Honey' is definitely an remarkable film that shows an intricate love story set from the terrors from the Bosnian War, especially towards women," Producers Guild presidents Hawk Koch and Mark Gordon stated inside a statement. "This film truly holds the legacy of Stanley Kramer." Kramer, who died in 2001, would be a highly respected director and producer noted for his socially conscious films including 'Judgment at Nuremberg,' 'Guess Who's Visiting Dinner,' and 'The Defiant Ones.' The award named after him is presented on films, producers or any other individual "whose achievement or contribution fires up provocative social issues within an accessible and raising fashion." Previous readers include 'Hotel Rwanda' and 'In America.' 'In the Land of Bloodstream and Honey' opens in limited release on 12 ,. 23. The film's PR states it "shows the incredible emotional, moral and physical toll the war assumes people along with the effects that stem from the possible lack of political will to intervene inside a society stricken with conflict." [via EW] [Photo: Getty] Follow Moviefone on Twitter Like Moviefone on Facebook

Lindsay Lohan Scuttles Ellen Appearance, But Keeps Court Date

Lindsay Lohan First, the photos of her Playboy pictorial were leaked (forcing the mag to produce the problem early). Then her purse - that contains $10,000 - was stolen. Now Lindsay Lohan will not make a scheduled appearance on Ellen to advertise the photos, a Playboy repetition has confirmed to TVGuide.com. The 25-year-old actress, who had been travelling in Hawaii, skipped her flight to La, where she was designed to film Ellen DeGeneres' syndicated talk show.Lindsay Lohan inspections in and it is launched from jail within 5 hoursThe actress initially was slated to tape the episode with DeGeneres on Wednesday to ensure that it might air Thursday to coincide using the magazine's release. DeGeneres had snagged the only real interview Lohan decided to do throughout the on-purchase duration of the problem.Lohan will not do every other interviews, Playboy's speaker stated.Take a look at photos from the actressOne commitment she did keep, however, was her court Wednesday. Judge Stephanie Sautner recognized Lohan for finishing her needed community service in the county morgue. "Ms. Lohan, you've really done the job. And tried it this is not on time, but early," she stated. "You are succeeding and Let me view it continue."Lohan arrives in the court again on Jan. 17.

Bosnian Serb War Victim Wants Jolies Film Banned

First Published: December 13, 2011 9:08 AM EST Credit: Getty Images BANJA LUKA, Bosnia-Herzegovina -- Caption Angelina Jolie steps out at the In the Land of Blood and Honey premiere held at ArcLight Cinemas in Hollywood, Calif. on December 8, 2011The head of a group for Serbs held prisoner during Bosnias 1992-95 war says Angelina Jolies movie In the Land of Blood and Honey should be banned in the Serb-run part of the country. Branislav Djukic of the Bosnian Serb Association of Camp Prisoners told the Associated Press on Tuesday that although he has seen only the trailer, he can already say the movie is showing lies and portraying Serbs as the only ones who raped women during the war. Jolies movie will be released in the U.S. on Dec. 23 and is a heavy drama about a Serb soldier who finds his ex-lover, a Muslim Bosnian woman, among sex slaves in a camp. The movie was praised by a selected audience of 11 non-Serb war victim groups who saw it in Sarajevo earlier this month. Copyright 2011 by The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Clooney Developing Smothers Brothers Pic

60s comedians get the film treatmentGeorge Clooney is a big fan of cinematic nostalgia, particularly when it involves television. We've seen it in his career before with the likes of Confessions Of A Dangerous Mind and Good Night, And Good Luck. Now it appears he's channelling the past again, developing a film based on the lives of '60s comedians Tom and Dicky Smothers.If you've never heard of them, we sympathise, and offer this brief info-blast. The Smothers Brothers show ran between 1967 and 1969, shoving boundaries as American culture erupted in change around them. While they began as easy gagmen, they soon evolved into counterculture troublemakers. As well helping to introduce musical acts such as The Who, Jefferson Airplane and The Doors, their writing staff boasted the talents of Steve Martin and Rob Reiner, among others. Such was the change in their material over time that they ended up fired by US network CBS and on Richard Nixon's list of enemies. High praise, surely!Clooney and regular producing partner Grant Heslov have bought the rights to David Bianculli's book Dangerously Funny: The Uncensored Story Of The Smothers Brothers Comedy Hour, with writers Brian Hecker and Craig Sherman assigned to work on a script. It's early days for the project, and no word according to Deadline on whether Clooney will actually get involved as either director or actor.

Friday Box Office: New Year's Eve Fizzles in First

Just what the saying again? You'll be able to fool some moviegoers constantly and many types of moviegoers a couple of of times, however, you are able to’t fool these constantly? Something of this character — maybe we have to request Warner Bros., Garry Marshall and many types of the celebs stuffed so tough into Year’s Eve, who recycled the model that acquired the aromatic Valentine’s Day a $56 million opening weekend and situated under another of the crowd ready to be seduced by it can. Still, it'll be enough for to start with around the pillow-soft weekend. Your Friday Box Office will be here. 1. Year’S EVE: $5,080,000 (new) 2. THE SITTER: $3,725,000 (new) 3. THE TWILIGHT SAGA: BREAKING Beginning PART 1: $2,500,000 ($254,083,000) 4. THE MUPPETS: $1,664,000 ($60,427,000) 5. HUGO: $1,600,000 ($28,964,000) [Figures via Box Office Mojo

Young Bulgarian Filmmakers Tell The Story Of Lost Generation In Tilt

Twelve years after the fall of communism, the cataclysmic events and their aftermath continue to be on the mind of Eastern European filmmakers. Latest case in point: Bulgaria’s Oscar entry for foreign language film Tilt, a teen love story set against the backdrop of the dramatic changes in Bulgaria in the late 1980s and early 1990s. I lived through them as did the film’s co-writer/director Victor Chouchkov Jr. and his brother, co-writer/producer Borislav Chouchkov. We are members of the so-called “lost” generation, kids who were coming of age just as communism was crumbling and were destined to spend most of their adult lives waiting for things to get better while the democracy is going through growing pains. Also part of that generation are the protagonists in Tilt, played by now-famous young Bulgarian actors who made their debut in the movie. Tilt, which was a box-office hit in Bulgaria, marks the first film for the Chouchkov brothers, with whom I briefly worked in the early days of democracy in Bulgaria. Both have colorful backgrounds. Victor’s career trajectory resembles that of Ron Howard. The director too was a child actor who grew up in an industry family (Victor and Borislav’s dad is a well known Bulgarian composer of orchestral and film music.) A bit of trivia: the award-winning Bulgarian film Victor starred in as a child, Yo-Ho-Ho (photo on left), received a Hollywood treatment with an English-language remake, Tarsem’s 2006 film The Fall starring Lee Pace. Meanwhile, Borislav started off as a child singer. (That’s him on right at an international festival in Italy where a kids song written by his dad won a top award.) The Chuchkov brothers will be on hand for a screening of Tilt today, Saturday, Dec. 10, at the Soho House. It will be followed by a coctail reception complete with several bottles of Bulgaria’s famous brandy “rakiya” for tequila-type shots. Bulgaria came close to a first foreign language film Oscar nomination 2 years ago when The World Is Big made it to the 9-film short list.

Guy Ritchie Gets Control 'Man From U.N.C.L.E.' From Steven Soderbergh

It has been a tough road to date for "The Guy From U.N.C.L.E.," the live-action adaptation from the classic tv program, however it might have found a brand new director. After George Clooney walked from the film and director Steven Soderbergh, it's were built with a difficult time possessing anybody. Bradley Cooper left soon after joining the film, and Soderbergh departed shortly after. Now Deadline is confirming that Warner Bros. has triggered the director of "A Virtual Detective: A Game Title of Shadows," its large holiday relase, Guy Ritchie like a producer and probable director from the film. Browse the relaxation of present day film news following the jump! Keanu Reeves Is Indeed A Gentleman Reeves appears to possess gained probably the most attention recently for doing the more routine things. First an image of him eating a sandwich takes the web by storm, and today a privately shot mobile phone video of Reeves around the subway has everybody speaking. Within the video, Reeves surrenders his chair to some standing lady while riding the Q train to Brooklyn. They know kung-fu and manners. "Guy or Muppet" from "The Muppets" Will get the background music Video Treatment It had been the song that stole the show, and today it is the music video each week. Jason Segel's self reflection, the Bret McKenzie-composed "Guy or Muppet" is perhaps the very best song from "The Muppets" and something of their greatest surprises. Should you haven't heard the song before, you have not seen the film, and that means you should not be reading through this. Visit it now! Otherwise, enjoy returning to the moment classic. "The Descent" Director Neil Marshall to Helm "Hellfest" The British horror director has selected his next project, /Film is confirming. The plot description provides the sense this a person's a reasonably easy frightening movie, but anybody acquainted with the director should expect an additional twist or two. The film will focus on a murderer stalking an theme park at Halloween. Harrison Ford Top Pick for Jackie Robinson Biopic Legendary Pictures have set their sights on numerous great stars, but Harrison Ford is the newest pick to experience Branch Rickey, the Dodgers executive accountable for signing Jackie Robinson and breaking baseball's color barrier. Other candidates incorporated Robert Redford and Jack Nicholson. More Sneak Previews Scheduled for "We Purchased a Zoo" Days following the first round of sneak preview screening impressed audience across America, Cameron Crowe's new film "We Purchased a Zoo" is placed for additional showings this Saturday (12 , 10). The film stars Matt Damon and Scarlett Johansson, and starts its normal theatrical operate on December 23. Inform us that which you think about present day Dailies within the comments as well as on Twitter!

Video: Watch the Old Milwaukee Commercials Will Ferrell Filmed For Free

If you’re a big Hollywood star, why go overseas to shoot a cheesy foreign commercial for millions of dollars when you could just go to Davenport, Iowa, and shoot an equally cheesy domestic commercial for free? That’s what Will Ferrell figured recently when he approached the Pabst Brewing Co. out of the blue and offered his services for an Old Milwaukee ad campaign pro bono. At the moment, the ads are only airing in Davenport, where they were filmed on what appears to be shoestring budget (unless that American flag polo shirt that Ferrell wears to “hand fish” beer cans is designer). Business Insider, who first reported the partnership, notes that it is unclear why Ferrell wanted to plug the discount beer brand and why he wanted to film in Davenport, when Old Milwaukee is from Wisconsin. [Business Insider via Vulture]

'Nada,' 'Perfidia' shine at Argentina's Ven TV

BUENOS AIRES -- Antarctic-set "La Nada blanca" and fraud thriller "Perfidia" demonstrated standouts at Ven TV, a landmark two-day showcase for that first fruits of the revolution in Argentine public service TV. Other TV series highlights were "El Pacto," with Cecilia Roth ("About My Mother") subjecting large business practices, slum 'burb redemption tale "La Purga" and medical drama "El Paraiso." Full marks for quality visit "Future Puppet," fun-out-noisy marionette telenovela spoof occur the textile biz of Argentina's far north. The condition funded 100% from the series and can underwrite more to fill public DTT channels on air and 220 digital nets to bow the coming year. This is sufficient to cover costs, departing producers to create a profit in worldwide sales. These could come as audiences tire of "seeing exactly the same American story formats," stated Max Oliveras, mind of sales and purchases at Montreal's Delphis Films. Indeed, Luca Macciocca, purchases professional at Italy's RAI Cinema, was upbeat about Ven TV. "You could have first-hands connection with a lot of companies who maybe can not afford Mip TV or Mipcom," he stated. Shows' primary marketplace is Argentina itself: Some series were languorously paced by U.S. or European standards, one buyer stated. However the export biz has started in. Buenos Aires' Primer Plano has had worldwide privileges to social issues actioner "Underneath the Bridge," and damaged dreams drama "Gigantes." Start-up KAFilms is circling "Eden," an ambitious period luxury hotel drama. Aura Films has multiple skeins, including docu-series "Prematuros," co-helmed by Lucia Puenzo ("XXY"). Aura's Patricia Primon has started sales talks with Latin American culture channels outdoors Argentina, Eastern European operators and U.S. VOD services. Whilst not all is exportable, Michelle Wasserman, an worldwide sales director at Buenos Aires' Telefe Intl., stated all of this can be a starting pad "for more compact producers to get involved with bigger projects." Ven TV went 12 ,. 6-7. Contact the range newsroom at news@variety.com

Harry Morgan, 'M*A*S*H*' Star, Dies at 96

In an aggressive bid for content, Comedy Central has lined its development slate with sketch artists, stick figures, robots and the revival of a 1980s-style public affairs show.our editor recommendsComedy Central Bets on 'Gajillionaires,' Two More Comedies (Exclusive)Comedy Central Announces Return of 'The Comedy Awards' in NYComedy Central Developing Comedy From 'Tosh.0' EP PHOTOS: Modern Film & TV Comedians "We hired a very expensive independent research firm that suggested that to be strategic, we should get in business with the funniest people we know," jokes Kent Alterman, the network's head of original programming and production. With this collection - a mix of stand-up, animation and scripted fare - Alterman and his team are looking to fill the already-popular 10 p.m. hour as well as expand the network's late-night block past midnight. VIDEOS: THR's Red Carpet Interviews at the Charlie Sheen Roast In addition to previously announced entries starring The Gregory Brothers and Anthony Jeselnik,as well as upcoming series Key & Peele, The Nick Show Kroll and Brickleberry, here's an exclusive first look at Comedy Central's 2011-12 development slate: *The Burn: The "Roast Master General" Jeff Ross and his comedian friends roast the week's hot topics. Ross, Mike Gibbons and Tagline Television will serve as executive producers on the project. *Braunger: A single-camera scripted comedy based on the life of comedian man-child Matt Braunger. The project will be executive produced and created by Braunger and Brent Forrester (King of the Hill, The Office), who will also direct. Avalon Entertainment's David Martin will EP, with the firm's Dan Lubetkin co-executive producing. *Robots: An animated show that pits a group of household electronics against their slacker owner. Kumail Nanjiani (Comedy Central's Hot List, John Oliver's NY Stand-Up Show) along with Lee Eisenberg and Gene Stupnitsky (The Office, Bad Teacher) will write and executive produce. *Nathan for You: Canadian writer-comedian Nathan Fielder (Important Things With Demetri Martin) uses his finance degree and life experience to help ailing businesses. The catch in this reality-scripted hybrid: Fielder's advice usually does more harm than good. The project will be executive produced by Fielder, Michael Koman and David Kneebone. *TripTank: A collection of animated shorts featuring comedy's brightest, with plots that range from a magical alcoholic wheelchair helping sick children to a group of aliens studying the world's most average guy. The project is a collaboration between executive producers Alex Bulkley and Corey Campodonico of ShadowMachine (Robot Chicken, Moral Orel) and Tom Gianas (Pretend Time with Nick Swardson, Saturday Night Live) combines a variety of animated formats with a broad range of talented writers and creators including Tommy Blacha, Tom Gammill, Jon Glaser, Laura Kightlinger, Joe Mande, Bob Odenkirk and Duncan Trussell. *@RobDelaney: A variety show starring comedian and Twitter mastermind Delaney, who will present videos, interview guests and discuss Twitter trends. Delaney will executive produce alongside Avalon Entertainment's David Martin, Jon Thoday, Richard Allen-Turner and Kara Baker. Avalon's Dan Lubetkin will co-EP. *Eugene!: A sketch show from the absurd point of view of comedian Eugene Mirman (Flight of the Conchords). Mirman, Jon Watts and Chris Ford will executive produce. *Overloaded: A shortform look at social media, with comedian Michael Kosta breaking down what people are talking about on Twitter, Facebook and blogs each week. The project will be executive produced by Kosta along with Infomania's David Nickoll, Will Ward and Roar Entertainment's Jordan Tilzer. *Untitled Amy Schumer: After her star-making turn at the Charlie Sheen roast, Amy Schumer will executive produce and develop a pilot and a stand-up special. *Untitled Cyanide and Happiness: An animated show featuring the twisted humor of a world populated by glorified stick figures, from the creators of the Cyanide and Happinessweb-comics. Kristipher Matthew Wilson, Robert Andrew DenBleyker, David McElfatrick and Matthew Melvin will serve as creators and executive producers on the project. *Untitled Wyatt Cenac: A sketch narrative idea based on 1980s public affairs shows, hosted, written and executive produced by Wyatt Cenac (The Daily Show With Jon Stewart). Joining him as a producer is Generate's David Rath. The previously announced offerings: *Gregory Brothers: The group behind the Auto-Tune the Newsand theBed Intruder Songwill star in an ensemble comedy that features an up-and-coming music group trying to make it in the world of viral videos. The Gregory Bros., which includes Evan, Andrew, Michael and Sarah Gregory,will executive produce alongsideTom Scharpling, David Becky at 3Arts and Peyton Reed (The Break Up), who directed the pilot. *My Mans: The comedyfollows the adventures of two best friends, one who is constantly getting into trouble and the other who is always bailing him out. The weekly narrative weaves in and out of stand-alone sketches, and is executive produced by Naomi Odenkirk and Mark Provissiero. The project is written, performed and directed by Second City Chicago members Tim Robinson, Mark Raterman and Andy Miara, with Bob Odenkirk (Mr. Show, Breaking Bad) serves as creative consultant. *Reviewwith Forrest MacNeil:The half-hour comedy stars Andrew Daly (as Forrest), who reviews not films, food or art but rather the most difficult experiences of life itself... by living them. In this case, he reviews anything that his TV audience throws at him on a zero-to-five star scale, from theadrenaline rush of stealing to the trauma of divorce to the harrowing effects of murder to the joy of anonymous sex. Daly will also pen the script and executive produce with Charlie Siskel. *Time Trumpet:The satirical look at pop culture and current events, set 30 years in the future, will be executive produced by Armando Iannucci (In the Loop, HBO's Veep), Chris Godsick and Laura Krafft. *Untitled Anthony Jeselnik Project:Comedian Anthony Jeselnik will bring bothhis sharp sense of humor and his dark, twisted point-of-view to his comedy project. In addition to starring, Jeselnikwill executive produce, alongside Tom Johnson and Mosaic Media Group's Christie Smith. Email: Lacey.Rose@THR.com Twitter: @LaceyVRose PHOTO GALLERY: View Gallery Modern Film & Television Comedians Related Topics Jeffrey Ross Comedy Central The Daily Show with Jon Stewart TV Development

Helen Mirren Circling 'Alfred Hitchcock' as Project Moves From Paramount to Fox Searchlight (Exclusive)

As punishment for suing Viacom, the owners of the YouTube viral video What What (In The Butt) have been ordered to pay up the you-know-what.our editor recommendsComedy Central Midseason Schedule: 'South Park,' 'Tosh.0' ReturnsOccupy Wall Street: 'South Park' Takes on the Protests (Video)'South Park' Creators Matt Stone, Trey Parker Targeted by Scientologists During Investigation In November 2010, Brownmark Films filed a copyright infringement lawsuitagainst Viacom and Comedy Central over an episode of South Park that allegedly infringed the massively popular music video. In July, a federal judge dismissedthe case, finding that South Park characters recreating the super-silly clip was clearly fair use. Now, the judge has also ordered Brownmark to pay Viacom more than $30,000 in attorney fees for making a legal action that interfered with free speech and wasn't a proper way to handle the situation. PHOTOS: 'South Park's' Most Famous Spoofs What What (In the Butt) is a 2007 music video from a Samwell song that's so ridiculous that it got featured on VH1's Best Week Ever and has now been viewed more than 44 million times. In 2008, South Park featured their own interpretationin the episodeCanada on Strike, featuring theSouth Parkcharacter Butters in place of Samwell. Brownmark sued but was soundly rejected by a Wisconsin federal judge who described the South Park version as attempting "to lampoon the recent craze in our society of watching video clips on the internet that are -- to be kind -- of rather low artistic sophistication and quality." PHOTOS: 10 Broadcast and Cable TV Show Most Watched By Men On November 30, the judge added to the public record about theWhat What (In The Butt) case,examining Viacom's motion for attorney fees.Judge Stadtmueller writes: "To begin, thedefendants' fair-use argument was very strong, and Brownmark's legal position was objectively unreasonable. The Court took the somewhat rare step of deciding this case at the motion to dismiss stage, precisely because the defendants' fair-use defense was so strong, satisfying all four fair-use factors." The episode of South Park was a parody, was transformative, only used enough lines to conjure up the original, and the show didn't damage the market for this silly video. "In fact, in this respect, it is most likely that South Park's use would have spurred demand for the original, making the viral video's spread more rapid after its exposure to a national television audience," the judge writes. Brownmark's motivation for bringing the lawsuit is deemed to be "questionable" since it waited two years to bring the lawsuit and was warned that South Park's use was fair. The judge sees this as evidence that the plaintiff was using "the threat of litigation against the defendants as a sort of 'sword of Damocles'-hanging by a thread over the heads of the defendants while Brownmark attempted to extract a licensing fee." In order to deter others from going this same route at the cost of free speech, the judge thinks its proper to award $31,525.23. Viacom had requested $46,775.23 but the judge takes pity because Brownmark is a "very small entity, without extensive assets."The judge also indicates he's willing to knock the fee down more if Brownmark submits documentation of its financial situation. Of course, the award could go up too. The parties are still in court. Brownmark is appealing the decision to the 7th Circuit, where it's still pending. One last time, the video and the South Park clip... Canada on Strike Tags: SOUTH PARKmore... E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner PHOTO GALLERY: View Gallery South Park's Most Famous Spoofs

Attacking Young Boys Remembers Christmas at Walt Disney World

Attacking Young Boys Even Wacky is not safe from Justin Bieber's swagger. Over the past weekend, the singing celebrity became a member of Christina Aguilera, Jennifer Hudson, Cee Lo Eco-friendly and Scotty McCreery to tape performances for that approaching Disney Parks Christmas Day Parade to air on ABC. (Check local entries.) Bieber sang a medley of tunes (take a look at individuals moves below!) in the Cinderella Castle stage before appearing with Wacky inside a Santa outfit. "After i busked within the roads wishing to earn money to maybe arrived at Walt Disney World ... now I carried out here. NEVER SAY NEVER. DREAM Large!" Bieber tweeted. Exactly what do you think about Bieber at Walt Disney World?

Time Warner Chief Says Hes Open To Acquisitions, If Theyre Cheap: UBS Confab

Time Warner CEO Jeff Bewkes needed a better joke writer to help him acknowledge the anniversary of the blunder he made at last year’s UBS Annual Global Media and Communications Conference when he wrote off Netflix, comparing it to the Albanian army trying to take over the world. He had to eat those words as Time Warner, along with just about everyone else, began licensing programming to the online streaming service. “This is the appropriate place to point out that the Albanian army did take over the world. Alexander the Great?It’s close.” The line only elicited a few chuckles from analysts, but they didn’t seem to mind after hearing Bewkes say a lot of things they wanted to hear. Time Warner’sad sales have been”up double digits (since the upfront market)and are holding.” Although4Q was a little soft,”some of that is advertisers pulling stuff forward to the upfront. … We’re looking fine for the first quarter,” especially with the return of NBA games. He also assured investors that they don’t have to be concerned about Warner Bros’ prospects following the end of the Harry Potter film series. He said that within hours, the Harry Potter presence that has done so much for Universal’s Islands of Adventure park in Orlando “will move in a material way in that direction” — suggesting that the company and Comcast will confirm reports that Universal Studios Hollywood will get a version of The Wizarding World of Harry Potter attraction.”Everybody stay tuned.” He also says that the studio has high hopes for additional franchises including the Batman/Dark Knight series. As for Time Warner’s cable channels, Bewkes says that TBS and TNT are starting to recover from a period of weaker-than-expected ratings. He attributed the problem to a few syndicated series includingWithout A Trace and Law & Order that he says “wore out.”About five years ago the major networks “were all economizing,” resulting in a dearth of good shows. “We have that rat moving through the snake,” Bewkes says.Now there’s a lot of new hit shows including The Big Bang Theory. “It’s now starting to run on TBS, and it’s doing great. … We’re not soothsayers here. But we’re looking at it carefully” and feel optimistic. He didn’t rule out the possibility of a bid for NFL games but says he’ll only do it if it “fits with our desire to make money. … We aren’t trying to re-create ESPN.”Bewkesalso talked up CNN, saying that its ratings are up as much as 30% “admittedly off of what had gone down.” The growing focus on international events and the election campaign will play to CNN’s advantage, he says. “It’s a very profitable channel and has been growing profits for the last seven years.” Bewkes adds that he isn’t worried yet about pay TV cord-cutting. The online alternatives are still mostly for early adopters and are “not that easy to use.” Still, Bewkes defended his drum beating for TV Everywhere, which makes it possible for pay TV services to offer cable channel programming to mobile and other digital devices. “It’ll give consumers a fair deal. … The advertising can migrate to what the interactive positives are.” Indeed, he says that the company is seeing great results from thepay TV providers who offer the HBO GO digital on-demand service. “Viewing is up considerably in the neighborhood of 30% to 50%,” Bewkes says. “I think that will continue across the base.” After years of spinning off assets and returning cash to shareholders — Time Warner returned 150% of its capital this year in the form ot stock repurchases and dividends — Bewkes says that he’s considering acquisitions. “We never rule them out. We’ve done about 20 deals in the last three or four years, 80% of them are overseas.” But he said he’ll only buy a business that complements Time Warner’s existingoperations, at prices that wouldn’t drive the stock down.For example, he’ll stay awayfrom “strange conceptual diversification into areas that nobody understands” — an obvious reference to Time Warner’s disastrous merger with AOL. “If any of you are pushing deals like that on trusting clients, you shouldn’t.”