'My favorite is when he sings, as opposed to rapping,' Jared Leto says of the MC's part on 'Hurricane.'
Earlier this month, Kanye West got people talking (and not about the whole "gay fish" thing) when he posted a photo of himself, Killers singer Brandon Flowers and 30 Seconds to Mars frontman Jared Leto on his blog and wrote that the trio were working on a "dope-ass song" for 30STM's new album.
Aside from saying that he worked the MPC sampler while Flowers played some keyboard, West revealed very little else about the song (he did, however, add that the "sh-- was dope"). Leto wrote a post on 30STM's site a few days later — in which he revealed that the song was called "Hurricane" — but there's been no other updates on the collaboration.
Until now. On Monday, when MTV News went to Leto's Los Angeles home, we asked him about working with Kanye on the track, and here's what he had to say:
"I had actually brought up [the idea of working with West] some time ago, but it's pretty unbelievable that it actually happened," Leto said. "He came by here, he was here in the studio, and we did some initial kind of listening, and he did some singing, and we knew we needed to kind of follow up and finish things, so I went over to Hawaii [with] an engineer and a small crew, and we had a great time."
Leto said that "Hurricane" features West's voice, au naturel, a decision he made even though the rapper/producer has trafficked almost exclusively in Auto-Tune as of late (like last year's 808s & Heartbreak). And surprisingly, the notoriously headstrong West listened.
"This is Kanye singing. I happen to think he has a really great voice. I like his voice a lot," Leto said. "My favorite is when he sings, as opposed to rapping, and I told him that as well, that I really liked him as a singer. But the Auto-Tune thing doesn't really bug me."
But there is one similarity between "Hurricane" and West's 808s: the icy sentiment. Seems both come from the same cold, dark place, be it the recesses of West's love-torn heart or, you know, Berlin, where Leto wrote the track.
"I wanted to work with him before 808s, but ... there was something about the direction that he headed in that album that lent itself to the song," Leto said. "I wrote 'Hurricane' in Berlin in the winter in 2007. It was winter, it was getting dark at like 3:30 in the afternoon, and it could go either way. It could be incredibly comforting or incredibly depressing. Thankfully, it was a little bit of both. It was inspiring nonetheless."
Saturday, May 2, 2009
Blink-182, Motion City Soundtrack Albums In The Works
Blink-182 frontman Mark Hoppus says the band has already written a number of new songs, but don't expect a follow-up to 2003's self-titled smash before the big reunion tour this summer.
"We started writing a few months ago and got well into the writing process, but now we've kind of put the recording of the next album on hold and are doing rehearsals for the upcoming tour," Hoppus told Billboard.com.
After a four-year hiatus, Hoppus, Travis Barker and Tom DeLonge appeared on stage at the 2009 Grammy Awards and announced their reformation as Blink-182.
Hoppus has also been busy in the studio with Motion City Soundtrack, producing the band's fourth album - and major-label debut - for Columbia Records. Hoppus last worked with the group on it's sophomore release, 2005's "Commit This to Memory."
"I think that 'Memory' is a really great record," Hoppus said. "For me, it encapsulates what Motion City Soundtrack is and can do. Now they want to make a record that's along those lines but pushes it even further."
As for the Minnesota-based electro-pop band's new material, Hoppus says fans will hear a heavier, more experimental side of the group. "There's an edge on this record that I'm really excited about getting into," he said. "But it still has all the catchiness of everything that I personally love about Motion City Soundtrack. As a fan, it's really exciting to get to work with them again and help them flesh out this new vision of themselves."
With a long-standing friendship and mutual respect, Hoppus does not rule out the possibility of taking Motion City Soundtrack out on tour with his newly reunited Blink-182. "We're still booking the Blink tour for this summer, so we'll see how that all ends up working out," he said. "I would love to tour with Motion City. They're a really cool band to tour with and they're great live, so I wouldn't be angry at that."
As for his full plate, the 37-year-old bassist/producer isn't complaining. "I felt like I had a couple of years to kind of relax, and I love those years, but there's a lot going on right now and it's a lot of fun."
"We started writing a few months ago and got well into the writing process, but now we've kind of put the recording of the next album on hold and are doing rehearsals for the upcoming tour," Hoppus told Billboard.com.
After a four-year hiatus, Hoppus, Travis Barker and Tom DeLonge appeared on stage at the 2009 Grammy Awards and announced their reformation as Blink-182.
Hoppus has also been busy in the studio with Motion City Soundtrack, producing the band's fourth album - and major-label debut - for Columbia Records. Hoppus last worked with the group on it's sophomore release, 2005's "Commit This to Memory."
"I think that 'Memory' is a really great record," Hoppus said. "For me, it encapsulates what Motion City Soundtrack is and can do. Now they want to make a record that's along those lines but pushes it even further."
As for the Minnesota-based electro-pop band's new material, Hoppus says fans will hear a heavier, more experimental side of the group. "There's an edge on this record that I'm really excited about getting into," he said. "But it still has all the catchiness of everything that I personally love about Motion City Soundtrack. As a fan, it's really exciting to get to work with them again and help them flesh out this new vision of themselves."
With a long-standing friendship and mutual respect, Hoppus does not rule out the possibility of taking Motion City Soundtrack out on tour with his newly reunited Blink-182. "We're still booking the Blink tour for this summer, so we'll see how that all ends up working out," he said. "I would love to tour with Motion City. They're a really cool band to tour with and they're great live, so I wouldn't be angry at that."
As for his full plate, the 37-year-old bassist/producer isn't complaining. "I felt like I had a couple of years to kind of relax, and I love those years, but there's a lot going on right now and it's a lot of fun."
Friday, May 1, 2009
Warped Founder Planning Country Music Tour
Vans Warped tour co-founder Kevin Lyman plans to launch a similar tour for the country genre, and has opened an office of his 4fini Productions in Nashville to put the tour together.
Lyman, who has also launched the Rockstar Taste of Chaos and Rockstar Mayhem tours, now has his sites set on a similar model for country- a multi-act, multi-stage, sponsor-driven tour with heavy label involvement and a conservative ticket price.
Lyman's team visited Nashville in January and started meeting with labels, managers and agents on an exploratory trip, and interest was high. "Everyone was saying the time is right," he says. 4fini execs Sarah Baer and Kate Truscott have relocated to Music City from Chicago, and former Clear Channel online music manager Allison Skiff has joined the Nashville team.
The first version of the yet-to-be-named tour will go out in summer 2010. "We want to customize what we've been able to do with Warped [in the punk genre], and last year with Mayhem in metal," Lyman tells Billboard.biz. "We invested a lot of time with the metal labels before we put that tour into motion, and we've put a lot of time into this [new] project."
The inaugural country tour will probably book about 13-14 acts and 10-12 singer/songwriters, Lyman says. He also envisions targeted ancillary events with other exhibition partners, and action sports exhibitions. "It's very wide open. We're not down to those details yet, but we're not discounting anything," Lyman says.
Promoter Live Nation works with Lyman on the Mayhem tour, and Lyman says a similar model would be likely for the country tour. "There is a commitment from them to support if we can put the right project together," he says. Baer and her team are actively seeking sponsors for the country tour and Lyman says they're already garnering interest.
Meanwhile, Warped had its strongest Internet pre-sale ever, up 48%, from 24,000 to over 35,000 this year, according to Lyman. "Now it's selling like the Warped tour, but we've got a pretty good head start," Lyman says, attributing the increase to a more coordinated digital marketing effort. "Mayhem pre-sales are also up quite a bit, which might be attributed to more brand awareness."
Lyman, who has also launched the Rockstar Taste of Chaos and Rockstar Mayhem tours, now has his sites set on a similar model for country- a multi-act, multi-stage, sponsor-driven tour with heavy label involvement and a conservative ticket price.
Lyman's team visited Nashville in January and started meeting with labels, managers and agents on an exploratory trip, and interest was high. "Everyone was saying the time is right," he says. 4fini execs Sarah Baer and Kate Truscott have relocated to Music City from Chicago, and former Clear Channel online music manager Allison Skiff has joined the Nashville team.
The first version of the yet-to-be-named tour will go out in summer 2010. "We want to customize what we've been able to do with Warped [in the punk genre], and last year with Mayhem in metal," Lyman tells Billboard.biz. "We invested a lot of time with the metal labels before we put that tour into motion, and we've put a lot of time into this [new] project."
The inaugural country tour will probably book about 13-14 acts and 10-12 singer/songwriters, Lyman says. He also envisions targeted ancillary events with other exhibition partners, and action sports exhibitions. "It's very wide open. We're not down to those details yet, but we're not discounting anything," Lyman says.
Promoter Live Nation works with Lyman on the Mayhem tour, and Lyman says a similar model would be likely for the country tour. "There is a commitment from them to support if we can put the right project together," he says. Baer and her team are actively seeking sponsors for the country tour and Lyman says they're already garnering interest.
Meanwhile, Warped had its strongest Internet pre-sale ever, up 48%, from 24,000 to over 35,000 this year, according to Lyman. "Now it's selling like the Warped tour, but we've got a pretty good head start," Lyman says, attributing the increase to a more coordinated digital marketing effort. "Mayhem pre-sales are also up quite a bit, which might be attributed to more brand awareness."
Foster to Direct Carrey in The Beaver?
We've been following movement on "The Beaver" with more than a little interest: Kyle Killen's buzz script, after all, topped the Black List and has been pretty much lauded as some of the best (yet-to-be-produced) writing out there.
Now there's some new info on those who may be associated with the project, with Jim Carrey emerging as a leading candidate to play the starring role. (Previously, Steve Carell had been loosely attached to play the lead when Jay Roach was talking about directing the pic.)
Those familiar with the situation say Carrey really likes the script and producers really like him for the role, though any casting would be dependent on a director coming aboard first.
An offbeat dramedy that Anonymous Content is producing, "Beaver" centers on the relationship between a man and a beaver puppet he wears on his arm, which he talks to and treats as a companion.
Killen's script has generated enormous interest in development circles, drawing comparisons to "Being John Malkovich" and 'Lars and the Real Girl."
Producers, who'd like to shoot the pic this year, are currently out to directors, with several contenders in the mix, including one novel choice: Jodie Foster, who has had conversations about helming.
The brave one has directed several pics previously, including the 1991 mother-son drama "Little Man Tate" and the 1995 family tale "Home for the Holidays," though this would certainly mark a bit of a switch.
Meanwhile, the CAA-repped Carrey has recently engaged in a pattern of alternating between his trademark big-budget comedies and more quirky fare. He's next up in Disney's version of "A Christmas Carol" and has signed on to play Curly in the Farrelly brothers reboot of "The Three Stooges."
But he also recently starred in the Sundance trail-of-deception drama "I Love You Philip Morris” and has flourished in offbeat dramatic roles. "Eternal Sunshine of the Spotless Mind" redux, anyone...
Now there's some new info on those who may be associated with the project, with Jim Carrey emerging as a leading candidate to play the starring role. (Previously, Steve Carell had been loosely attached to play the lead when Jay Roach was talking about directing the pic.)
Those familiar with the situation say Carrey really likes the script and producers really like him for the role, though any casting would be dependent on a director coming aboard first.
An offbeat dramedy that Anonymous Content is producing, "Beaver" centers on the relationship between a man and a beaver puppet he wears on his arm, which he talks to and treats as a companion.
Killen's script has generated enormous interest in development circles, drawing comparisons to "Being John Malkovich" and 'Lars and the Real Girl."
Producers, who'd like to shoot the pic this year, are currently out to directors, with several contenders in the mix, including one novel choice: Jodie Foster, who has had conversations about helming.
The brave one has directed several pics previously, including the 1991 mother-son drama "Little Man Tate" and the 1995 family tale "Home for the Holidays," though this would certainly mark a bit of a switch.
Meanwhile, the CAA-repped Carrey has recently engaged in a pattern of alternating between his trademark big-budget comedies and more quirky fare. He's next up in Disney's version of "A Christmas Carol" and has signed on to play Curly in the Farrelly brothers reboot of "The Three Stooges."
But he also recently starred in the Sundance trail-of-deception drama "I Love You Philip Morris” and has flourished in offbeat dramatic roles. "Eternal Sunshine of the Spotless Mind" redux, anyone...
Thursday, April 30, 2009
Celebrity Apprentice Renewed for Another Season
NBC isn't saying "you're fired" to Donald Trump just yet.
The Peacock has renewed The Donald's Celebrity Apprentice for another season to air in spring 2010. This will mark the show's ninth cycle, the first six of which were not celebrity-based.
This season — which features Joan and Melissa Rivers, country musician Clint Black and poker player Annie Duke — NBC expanded the show's running time to two hours per episode. The show has averaged 8.6 million viewers on a highly competitive Sunday night.
"It's a valuable franchise and proven competitor," said Paul Telegdy, NBC's executive vice president for alternative programming. Trump called the show a "wonderful experience" and said he is "greatly honored that NBC has renewed us for another season."
The Peacock has renewed The Donald's Celebrity Apprentice for another season to air in spring 2010. This will mark the show's ninth cycle, the first six of which were not celebrity-based.
This season — which features Joan and Melissa Rivers, country musician Clint Black and poker player Annie Duke — NBC expanded the show's running time to two hours per episode. The show has averaged 8.6 million viewers on a highly competitive Sunday night.
"It's a valuable franchise and proven competitor," said Paul Telegdy, NBC's executive vice president for alternative programming. Trump called the show a "wonderful experience" and said he is "greatly honored that NBC has renewed us for another season."
Bruce Willis Eyeing Three More Action Pics
The Hollywood Reporter's Risky Biz Blog says that 54-year-old Bruce Willis is eyeing three more action films, including a thriller for NuImage/Millenium titled Inventory, the CIA tale Red for Summit and the mob biopic Scarpa for Morgan Creek.
In Inventory, Willis, who is in negotiations for the role, would play a detective on the trail of a murderer.
In Red, Willis would portray a former black-ops agent who has gone into retirement but is forced back into action when a high-tech assassin comes a-callin' to threaten him and his girlfriend. Erich and Jon Hoeber are writing the screenplay, which is based on the WildStorm/DC Comic.
Willis has also been weighing an offer from Morgan Creek to play the title character in Scarpa, a mob biopic directed by Tears of the Sun helmer Antoine Fuqua about Greg Scarpa, an FBI informant who worked deeply undercover in New York's Columbo family, though the odds are growing that Willis won't do that pic.
Willis is attached to or is starring in a host of other action movies — the buddy action-comedy tentatively titled A Couple of Dicks at Warners, likely to be his next movie, and Lionsgate's adaptation of the video game title Kane & Lynch.
In Inventory, Willis, who is in negotiations for the role, would play a detective on the trail of a murderer.
In Red, Willis would portray a former black-ops agent who has gone into retirement but is forced back into action when a high-tech assassin comes a-callin' to threaten him and his girlfriend. Erich and Jon Hoeber are writing the screenplay, which is based on the WildStorm/DC Comic.
Willis has also been weighing an offer from Morgan Creek to play the title character in Scarpa, a mob biopic directed by Tears of the Sun helmer Antoine Fuqua about Greg Scarpa, an FBI informant who worked deeply undercover in New York's Columbo family, though the odds are growing that Willis won't do that pic.
Willis is attached to or is starring in a host of other action movies — the buddy action-comedy tentatively titled A Couple of Dicks at Warners, likely to be his next movie, and Lionsgate's adaptation of the video game title Kane & Lynch.
Keanu Reeves in Talks for Cartagena
Production Weekly reports that Keanu Reeves is in talks to star in Cartagena. Clive Owen was previously attached to the drama.
The film centers on an undercover agent who gets caught in a complex plot and must elude drug dealers and international agents if he hopes to survive. The project is named for a city on Colombia's northern coast that has a colorful history featuring wars, robust economic activity and tourist development.
Michael Ross wrote the script.
The film centers on an undercover agent who gets caught in a complex plot and must elude drug dealers and international agents if he hopes to survive. The project is named for a city on Colombia's northern coast that has a colorful history featuring wars, robust economic activity and tourist development.
Michael Ross wrote the script.
Todd McFarlane In Talks To Make A New Spawn Movie
It’s been a week of reboot news, and tonight is no different. Comic book artist/writer turned entrepreneur Todd McFarlane tells IESB that he’s got “five offers on the table” for a new Spawn movie, ranging from big studio to smaller scale. Todd says that he’s leaning towards the latter, which would “keep it down, keep it dark, keep it grungy”, comparing his idea to “The Departed with something moving in the shadows.”
“It’s not a comic book movie, it’s just a scary movie, a creepy movie. Everything’s real except for one element, which happens to be the character we know as Spawn. So it’s not going to be super villain vs superhero or any of that stuff, it’s just going to be a ‘tight’ movie.”
Back in the early 1990’s, I was a huge fan of Spawn. McFarlane, a popular Spider-Man artist defected from Marvel and formed Image Comics with six other popular comic book artists. McFarlane’s art was always the big selling point for me. The first issue went on to sell over 1.7 million copies, a record for an independent comic book. McFarlane has since expanded to other areas, and is probably best known outside of the comic book world for line of action detailed figures.
Anyway, a film based on the comic was released in 1997. Despite the special effects, which were impressive at the time, the movie was not well received by fans or critics. I know that we’re now in a post-Dark Knight world where dark is back in style, but I felt one of the reasons the original film didn’t work was that it was too gritty, and lacked much of the style and gloss of the comics. Don’t get me wrong, Spawn will never be Spider-Man, but I think its better to aim for stylistic more than gritty. More Sin City than The Dark Knight, Spider-Man or X-Men. What do you think?
“It’s not a comic book movie, it’s just a scary movie, a creepy movie. Everything’s real except for one element, which happens to be the character we know as Spawn. So it’s not going to be super villain vs superhero or any of that stuff, it’s just going to be a ‘tight’ movie.”
Back in the early 1990’s, I was a huge fan of Spawn. McFarlane, a popular Spider-Man artist defected from Marvel and formed Image Comics with six other popular comic book artists. McFarlane’s art was always the big selling point for me. The first issue went on to sell over 1.7 million copies, a record for an independent comic book. McFarlane has since expanded to other areas, and is probably best known outside of the comic book world for line of action detailed figures.
Anyway, a film based on the comic was released in 1997. Despite the special effects, which were impressive at the time, the movie was not well received by fans or critics. I know that we’re now in a post-Dark Knight world where dark is back in style, but I felt one of the reasons the original film didn’t work was that it was too gritty, and lacked much of the style and gloss of the comics. Don’t get me wrong, Spawn will never be Spider-Man, but I think its better to aim for stylistic more than gritty. More Sin City than The Dark Knight, Spider-Man or X-Men. What do you think?
Disney to Join NBC Universal, News Corporation and Providence Equity Partners as an Equity Owner of Hulu
Hulu and The Walt Disney Company today announced that Disney, through a subsidiary of ABC Enterprises Inc., has agreed to join NBC Universal, News Corporation and Providence Equity Partners as a joint venture partner and equity owner of Hulu, a leading online aggregator of video content. Upon closing, the agreement will enhance Hulu’s programming line-up through the expanded online distribution of Disney’s most popular current and library primetime series and library feature films. In particular, full-length episodes of hit current and library programs like Lost, Grey’s Anatomy, Desperate Housewives, Private Practice, Ugly Betty, Scrubs, Greek, Hope and Faith, Less Than Perfect, Wizards of Waverly Place, Phineas and Ferb, Who Wants To Be A Millionaire, General Hospital, The View and The Secret Life of the American Teenager will soon be streamed on Hulu on an ad-supported basis.
“From our landmark iTunes deal to our pioneering decision to stream ad supported shows on our ABC.com player, Disney has sought to meet the constantly evolving viewing habits of our consumers, and today’s Hulu announcement is the next important step in that ongoing journey,” said Robert A. Iger, president and CEO, The Walt Disney Company. “Disney and Hulu share a focus on delivering the highest-quality entertainment experience and we look forward to working with Hulu to build value for our consumers, our brands and our shareholders.”
“We're honored to welcome the Disney team in our mission to help people find and enjoy the world’s premium content, when, where and how they want it,” said Jason Kilar, CEO of Hulu. “With the addition of shows like Lost, Desperate Housewives, Grey’s Anatomy and many more to Hulu, we continue to aspire to deliver a service that users, advertisers and content owners unabashedly love.”
Following the closing, content available to Hulu users will include:
“Hulu has shown that if you make quality content available on the web and combine it with an unbeatable user experience, viewers will come, and so will advertisers," said Jeff Zucker, president and CEO, NBC Universal. "The addition of some of the best content Disney/ABC has to offer will only enhance Hulu’s standing as a top site for high quality video entertainment.”
Jonathan M. Nelson, CEO of Providence, said “Hulu is creating significant value for users, advertisers and content owners. This balance, together with aggregated professional content and an expanding base of over 200 brand advertisers, is establishing Hulu as a compelling online video monetization platform. Hulu is a bright spot in the new media landscape.”
The transaction is subject to customary closing conditions, including regulatory review. As an equity partner, Disney will have three seats on the Hulu Board that will be held by Mr. Iger; Anne Sweeney, co-chair, Disney Media Networks and president, Disney/ABC Television Group; and Kevin Mayer, executive vice president, Corporate Strategy, Business Development & Technology. All other current directors from News Corp, NBC Universal and Providence will remain on the Hulu board.
“From our landmark iTunes deal to our pioneering decision to stream ad supported shows on our ABC.com player, Disney has sought to meet the constantly evolving viewing habits of our consumers, and today’s Hulu announcement is the next important step in that ongoing journey,” said Robert A. Iger, president and CEO, The Walt Disney Company. “Disney and Hulu share a focus on delivering the highest-quality entertainment experience and we look forward to working with Hulu to build value for our consumers, our brands and our shareholders.”
“We're honored to welcome the Disney team in our mission to help people find and enjoy the world’s premium content, when, where and how they want it,” said Jason Kilar, CEO of Hulu. “With the addition of shows like Lost, Desperate Housewives, Grey’s Anatomy and many more to Hulu, we continue to aspire to deliver a service that users, advertisers and content owners unabashedly love.”
Following the closing, content available to Hulu users will include:
- Full-length episodes of ABC primetime programs like Lost, Grey’s Anatomy, Desperate Housewives, Ugly Betty, Samantha Who?, Scrubs, Private Practice and popular late night talk show Jimmy Kimmel Live
- Full-length episodes of hit ABC Family series like The Secret Life of the American Teenager and Greek
- Popular series from ABC Daytime and SOAPnet like General Hospital and The View
- Classic series from ABC’s library like Hope and Faith, Less Than Perfect, Commander in Chief, Who Wants To Be A Millionaire and Dancing with the Stars
- Select hit programs from Disney Channel like Wizards of Waverly Place and Phineas and Ferb which can be easily accessed from a new DISNEY location in the Channel section of Hulu.com
- Popular library titles from The Walt Disney Studios
- Short-form content including webisodes, sneak peeks and episode recaps from ABC Entertainment, ABC Family and SOAPnet
“Hulu has shown that if you make quality content available on the web and combine it with an unbeatable user experience, viewers will come, and so will advertisers," said Jeff Zucker, president and CEO, NBC Universal. "The addition of some of the best content Disney/ABC has to offer will only enhance Hulu’s standing as a top site for high quality video entertainment.”
Jonathan M. Nelson, CEO of Providence, said “Hulu is creating significant value for users, advertisers and content owners. This balance, together with aggregated professional content and an expanding base of over 200 brand advertisers, is establishing Hulu as a compelling online video monetization platform. Hulu is a bright spot in the new media landscape.”
The transaction is subject to customary closing conditions, including regulatory review. As an equity partner, Disney will have three seats on the Hulu Board that will be held by Mr. Iger; Anne Sweeney, co-chair, Disney Media Networks and president, Disney/ABC Television Group; and Kevin Mayer, executive vice president, Corporate Strategy, Business Development & Technology. All other current directors from News Corp, NBC Universal and Providence will remain on the Hulu board.
30 Seconds To Mars Back On Virgin
After suing each other for alleged breach of contract, 30 Seconds to Mars and Virgin/EMI have set aside their differences and signed a new multi-album recording deal.
The major had sued the Los Angeles band last year for $30 million over 30 Seconds to Mars' unilateral termination of its contract, in which the band cited a California law that governs the ability of entertainers to end their contracts after seven years. The band countersued the label last fall, alleging "creative accounting" that it said had resulted in unpaid royalties.
Neither EMI nor the band’s management would comment on how the lawsuits were resolved. In a posting on his band’s web site, frontman Jared Leto attributed the new contract to “the willingness and enthusiasm by EMI to address our major concerns and issues, the opportunity to return to work with a team so committed and passionate about Thirty Seconds to Mars, and the company's dedication to changing the status quo of the business of recorded music.”
Leto went on to write that the band had debated how far to take its legal battle, and whether to put out its next album independently or continue to rely on an experienced label.
“In the future, whether there are record companies or not, whether you put your music out only through the internet or sell it from an ice cream truck, you still need the help of individuals. And at the end of it all the biggest reason for us to reunite with EMI is exactly that. The people. It isn't for business or finance or contracts or the end of lawsuits. It is for the chance to rejoin the people who remain, who have been a part of our phenomenal journey throughout, and for the limitless possibilities of those wonderful new individuals who will be helping us along this new path.”
30 Seconds to Mars’ yet-untitled album, produced by Flood, is due this fall.
The major had sued the Los Angeles band last year for $30 million over 30 Seconds to Mars' unilateral termination of its contract, in which the band cited a California law that governs the ability of entertainers to end their contracts after seven years. The band countersued the label last fall, alleging "creative accounting" that it said had resulted in unpaid royalties.
Neither EMI nor the band’s management would comment on how the lawsuits were resolved. In a posting on his band’s web site, frontman Jared Leto attributed the new contract to “the willingness and enthusiasm by EMI to address our major concerns and issues, the opportunity to return to work with a team so committed and passionate about Thirty Seconds to Mars, and the company's dedication to changing the status quo of the business of recorded music.”
Leto went on to write that the band had debated how far to take its legal battle, and whether to put out its next album independently or continue to rely on an experienced label.
“In the future, whether there are record companies or not, whether you put your music out only through the internet or sell it from an ice cream truck, you still need the help of individuals. And at the end of it all the biggest reason for us to reunite with EMI is exactly that. The people. It isn't for business or finance or contracts or the end of lawsuits. It is for the chance to rejoin the people who remain, who have been a part of our phenomenal journey throughout, and for the limitless possibilities of those wonderful new individuals who will be helping us along this new path.”
30 Seconds to Mars’ yet-untitled album, produced by Flood, is due this fall.
Robert Zemeckis Has A New Idea For Roger Rabbit 2
The sequel madness in Hollywood is starting to get out of control. Earlier this week it was revealed that Robert Rodriguez would be producing a Predator remake titled Predators, Ridley Scott was considering making a prequel to Alien, and that Mirage Studios are developing a live-action Teenage Mutant Ninja Turtles reboot. Russell Brand is remaking Drop Dead Fred. Yesterday Oliver Stone announced Wall Street 2. Last night we told you about how Joe Dante wouldn’t be directing a Gremlins 3 and how Amy Heckerling may, or may not, be making a sequel to Clueless. And now there is talk of a Who Framed Roger Rabbit sequel!
Filmmaker Robert Zemeckis told MTV that all the new “digital tools and performance capture” has him “starting to think about” doing another Roger Rabbit. Of course, Zemeckis didn’t give any more details, only adding that “new idea” has been “buzzing around in my head.”
The original 1988 film was nominated for seven Academy Awards, four wins. I’m not sure how the new technology would elevate the effect of transplanting 2D animated characters into the real world, but I’m sure it has something to do with performance capture. And I’m sure the result would be a movie that takes place with humans trapped inside of the animated world of Toon Town. But I actually think that there might be more stories to tell in the Roger Rabbit universe, and I even have some really topical ideas. Like I would like to see how Toon Town has dealt with the invasion of computer animation. I’m sure the 2D cartoon stars have now become “old news”.
Many people don’t know that the first film almost spawned a direct-to-video prequel. Written by Nat Mauldin, Roger Rabbit: The Toon Platoon told the story of a young Roger Rabbit, who meets a struggling Hollywood actress named Jessica while traveling west to find his mother. But when Jessica is kidnapped and forced to make pro-Nazi Germany broadcasts, Roger and his human friend Ritchie Davenport go to Nazi-occupied Europe to save her. The film ended with a huge Hollywood parade where Roger us reunited with his mother, and his father… big reveal… Bugs Bunny. Ugh!
Disney later tried to rework the story without Steven Spielberg. Who Discovered Roger Rabbit told the story of Roger’s “inadvertent rise to stardom on Broadway and Hollywood.” Eight time Academy Award composer Alan Menken was even hired on to write five songs for the production, with Looney Toons: Back in Action helmer Eric Goldberg attached to direct the animation. A test sequence was filmed in 1998 which combined traditional animation, computer animation and live action. Disney wasn’t happy with the results, so they also did a test with all the cartoon characters completely converted to CG. The budget quickly skyrocketed past $100 million, forcing Michael Eisner to pull the plug. It’s probably better for everyone involved that neither films earned a greenlight.
Filmmaker Robert Zemeckis told MTV that all the new “digital tools and performance capture” has him “starting to think about” doing another Roger Rabbit. Of course, Zemeckis didn’t give any more details, only adding that “new idea” has been “buzzing around in my head.”
The original 1988 film was nominated for seven Academy Awards, four wins. I’m not sure how the new technology would elevate the effect of transplanting 2D animated characters into the real world, but I’m sure it has something to do with performance capture. And I’m sure the result would be a movie that takes place with humans trapped inside of the animated world of Toon Town. But I actually think that there might be more stories to tell in the Roger Rabbit universe, and I even have some really topical ideas. Like I would like to see how Toon Town has dealt with the invasion of computer animation. I’m sure the 2D cartoon stars have now become “old news”.
Many people don’t know that the first film almost spawned a direct-to-video prequel. Written by Nat Mauldin, Roger Rabbit: The Toon Platoon told the story of a young Roger Rabbit, who meets a struggling Hollywood actress named Jessica while traveling west to find his mother. But when Jessica is kidnapped and forced to make pro-Nazi Germany broadcasts, Roger and his human friend Ritchie Davenport go to Nazi-occupied Europe to save her. The film ended with a huge Hollywood parade where Roger us reunited with his mother, and his father… big reveal… Bugs Bunny. Ugh!
Disney later tried to rework the story without Steven Spielberg. Who Discovered Roger Rabbit told the story of Roger’s “inadvertent rise to stardom on Broadway and Hollywood.” Eight time Academy Award composer Alan Menken was even hired on to write five songs for the production, with Looney Toons: Back in Action helmer Eric Goldberg attached to direct the animation. A test sequence was filmed in 1998 which combined traditional animation, computer animation and live action. Disney wasn’t happy with the results, so they also did a test with all the cartoon characters completely converted to CG. The budget quickly skyrocketed past $100 million, forcing Michael Eisner to pull the plug. It’s probably better for everyone involved that neither films earned a greenlight.
Tuesday, April 28, 2009
Paramore Invite Us Into The Studio!
On Monday, MTV News headed into the winding hills of Calabasas, California, to producer Rob Cavallo’s palatial estate (seriously, he’s got a regulation basketball hoop and a soft-serve machine in the garage), where Paramore are hard at work on their new album.
At first, it seemed like a rather odd place — a suburb in the middle of nowhere — for a platinum-plus rock act to be hammering away on their new album, but it seems like the surroundings have only brought out the best in the guys (and gal), judging from their sunny demeanors, lack of haggard studio beards, and, well the six brand-new songs we heard.
And while we can’t say anything about the new tunes just yet (but know that they do, in fact, rock pretty hard), we do have one rather HUGE bit of news that we can break to you: a release date for the record!
When? Well, read on to find out!
Okay, so get out your calendars. Turns out, according to the band — and confirmed by their labels, Fueled By Ramen and Atlantic — the follow-up to Riot! will be hitting stores this September.
There’s no word on a title, or a first single (though Hayley Williams did say that one of the songs we heard “sure sounds like” it’s gonna be the first one out of the gate), but fans can look forward to hearing a couple of the new songs this summer, on Paramore’s tour with No Doubt.
That’s about all we can tell you right now. But trust us, there’s going to be plenty more from our studio visit in the coming weeks, so, be on the lookout for a whole bunch of news about the new album, straight from Paramore themselves, over on MTVNews.com
Now, if you’ll excuse us, we’ve got to get back to that soft-serve.
At first, it seemed like a rather odd place — a suburb in the middle of nowhere — for a platinum-plus rock act to be hammering away on their new album, but it seems like the surroundings have only brought out the best in the guys (and gal), judging from their sunny demeanors, lack of haggard studio beards, and, well the six brand-new songs we heard.
And while we can’t say anything about the new tunes just yet (but know that they do, in fact, rock pretty hard), we do have one rather HUGE bit of news that we can break to you: a release date for the record!
When? Well, read on to find out!
Okay, so get out your calendars. Turns out, according to the band — and confirmed by their labels, Fueled By Ramen and Atlantic — the follow-up to Riot! will be hitting stores this September.
There’s no word on a title, or a first single (though Hayley Williams did say that one of the songs we heard “sure sounds like” it’s gonna be the first one out of the gate), but fans can look forward to hearing a couple of the new songs this summer, on Paramore’s tour with No Doubt.
That’s about all we can tell you right now. But trust us, there’s going to be plenty more from our studio visit in the coming weeks, so, be on the lookout for a whole bunch of news about the new album, straight from Paramore themselves, over on MTVNews.com
Now, if you’ll excuse us, we’ve got to get back to that soft-serve.
LaBeouf Joining Douglas in Wall Street Sequel
Variety reports that 20th Century Fox has signed Oliver Stone to return as director of the sequel to his 1987 hit Wall Street.
Shia LaBeouf ("Transformers" films) is negotiating to join Michael Douglas, who won an Oscar for his portrayal of Gordon Gekko in the original film. The sequel will once again involve a young Wall Street trader, and the recent economic meltdown spurred by rampant greed and corruption will fit prominently into the plot.
Allan Loeb wrote the script. Edward R. Pressman is back as producer.
Shia LaBeouf ("Transformers" films) is negotiating to join Michael Douglas, who won an Oscar for his portrayal of Gordon Gekko in the original film. The sequel will once again involve a young Wall Street trader, and the recent economic meltdown spurred by rampant greed and corruption will fit prominently into the plot.
Allan Loeb wrote the script. Edward R. Pressman is back as producer.
Ridley Scott is Considering Alien Prequel/Reboot
20th Century Fox head Tom Rothman revealed to IESB that there is “some talk” of an Alien “prequel” to go along with the recently announced Robert Rodriguez-produced Predator reboot Predators. Rothman confirms that director Ridley Scott is “toying around with the idea.” And the Fox head gives the impression that another Alien movie, be it sequel, prequel or reboot, would only happen with Scott’s involvement.
I remember reading an interview with Scott where the filmmaker expressed interest in making a prequel that would explore the origins of the space jockey and the Aliens. At one point James Cameron was working on an origin story for a fifth Alien film, but abandoned the development when Aliens vs. Predator was announced. Sigourney Weaver has publicly expressed interest in doing a sequel, but it wouldn’t make sense to include her character in an origin story. But who knows, maybe Ridley is “toying” with some kind of reboot/prequel combo.
I remember reading an interview with Scott where the filmmaker expressed interest in making a prequel that would explore the origins of the space jockey and the Aliens. At one point James Cameron was working on an origin story for a fifth Alien film, but abandoned the development when Aliens vs. Predator was announced. Sigourney Weaver has publicly expressed interest in doing a sequel, but it wouldn’t make sense to include her character in an origin story. But who knows, maybe Ridley is “toying” with some kind of reboot/prequel combo.
Brand to Star in Drop Dead Fred Remake
Universal Pictures is developing a remake of Drop Dead Fred for Russell Brand to star in, says The Hollywood Reporter.
Dennis McNicholas (upcoming Land of the Lost) will write the remake. Marc Platt is producing via his studio-based Marc Platt Productions along with Working Title's Tim Bevan and Eric Fellner.
The 1991 original starred Phoebe Cates as a wallflower who loses her job and husband during the course of a lunch hour. Forced to live back home, she's reunited with her childhood imaginary friend (Brit actor Rik Mayall), who promises to help but causes more havoc.
The trade says the take for the update is to make a film in the tone of Beetlejuice, building a universe around the concept of imaginary friends. Brand would play the trouble-making pal.
Dennis McNicholas (upcoming Land of the Lost) will write the remake. Marc Platt is producing via his studio-based Marc Platt Productions along with Working Title's Tim Bevan and Eric Fellner.
The 1991 original starred Phoebe Cates as a wallflower who loses her job and husband during the course of a lunch hour. Forced to live back home, she's reunited with her childhood imaginary friend (Brit actor Rik Mayall), who promises to help but causes more havoc.
The trade says the take for the update is to make a film in the tone of Beetlejuice, building a universe around the concept of imaginary friends. Brand would play the trouble-making pal.
ABC might keep 'Scrubs' in rotation
The doctors might still be in.
ABC is in talks to renew the veteran comedy "Scrubs" for a ninth season with some or all of the original cast members coming back full or part-time.
The network is going over the proposed budget for next season with series producer ABC Studios.
"Scrubs" creator Bill Lawrence, busy editing his ABC/ABC Studios comedy pilot "Cougar Town," is said to be deeply involved in the renewal talks as well as in the discussions with the cast, who don't have deals beyond the show's current eighth season.
Last summer, Lawrence and ABC chief Stephen McPherson indicated that they were looking into a way to keep "Scrubs" going with new cast members, a la NBC's revolving-door medical drama "ER." This season, the show integrated a new crop of interns.
Additionally, talks are under way with the original cast members about ways to bring them back, possibly as recurrings, as in the case of Zach Braff, who had said this was probably his last year on the show, as well as Donald Faison, John C. McGinley and Neil Flynn, who are co-starring on pilots.
For Faison, McGinley and Flynn, "Scrubs" is in second position to ABC's "The Law," CBS' "Back" and ABC's "The Middle," respectively, which means they can at most be recurring on "Scrubs" if their pilots go to series.
And Lawrence, of course, could be pulling double duty if his Courteney Cox starrer "Cougar Town" goes and "Scrubs" gets renewed.
In its debut season on ABC after seven years on NBC, "Scrubs" has been a modest performer at 8 p.m. Wednesday. But it has helped launch new comedy "Better Off Ted," with both series enjoying critical praise, strong support at the network and talk about possibly extending the pairing into next season.
ABC is in talks to renew the veteran comedy "Scrubs" for a ninth season with some or all of the original cast members coming back full or part-time.
The network is going over the proposed budget for next season with series producer ABC Studios.
"Scrubs" creator Bill Lawrence, busy editing his ABC/ABC Studios comedy pilot "Cougar Town," is said to be deeply involved in the renewal talks as well as in the discussions with the cast, who don't have deals beyond the show's current eighth season.
Last summer, Lawrence and ABC chief Stephen McPherson indicated that they were looking into a way to keep "Scrubs" going with new cast members, a la NBC's revolving-door medical drama "ER." This season, the show integrated a new crop of interns.
Additionally, talks are under way with the original cast members about ways to bring them back, possibly as recurrings, as in the case of Zach Braff, who had said this was probably his last year on the show, as well as Donald Faison, John C. McGinley and Neil Flynn, who are co-starring on pilots.
For Faison, McGinley and Flynn, "Scrubs" is in second position to ABC's "The Law," CBS' "Back" and ABC's "The Middle," respectively, which means they can at most be recurring on "Scrubs" if their pilots go to series.
And Lawrence, of course, could be pulling double duty if his Courteney Cox starrer "Cougar Town" goes and "Scrubs" gets renewed.
In its debut season on ABC after seven years on NBC, "Scrubs" has been a modest performer at 8 p.m. Wednesday. But it has helped launch new comedy "Better Off Ted," with both series enjoying critical praise, strong support at the network and talk about possibly extending the pairing into next season.
Monday, April 27, 2009
Moviegoers Obsessed with Beyoncé and Larter
The ComingSoon.net Box Office Report has been updated with studio estimates for the weekend.
Screen Gems thriller Obsessed, starring Idris Elba, Beyoncé Knowles and Ali Larter, dominated the box office with an estimated $28.5 million, making it the seventh-biggest opening ever for the month of April. The film, which was made for just $20 million, debuted in 2,514 theaters and averaged a strong $11,337 per site.
New Line/Warner Bros.' 17 Again dropped 50.8% in tickets sales and to second place, adding $11.7 million in its second weekend. The Zac Efron comedy has earned $39.97 million so far.
The other three newcomers--Rogue Pictures' Fighting, Warner Bros.' The Soloist, and Disneynature's Earth--took third, fourth and fifth place, respectively. Fighting opened to $11.4 million from 2,309 theaters, The Soloist made $9.7 million in 2,024 theaters, and documentary Earth collected $8.6 million from 1,804 theaters. The latter has made $14.2 million since opening on Wednesday.
DreamWorks Animation's Monsters vs. Aliens followed closely in sixth place with $8.5 million in its fifth weekend. The top domestic earner of the year so far has made $174.8 million. Worldwide, the film has reached $317 million.
In seventh, Universal's State of Play earned $6.9 million its second weekend and stands at $25.1 million, while Disney's Hannah Montana The Movie added $6.4 million in eighth for a total of $65.6 million after three weeks.
Universal's Fast & Furious pulled in $6.1 million in ninth for a total of $145.2 million domestically. The action-thriller, produced for $85 million, is the top international grosser so far with $170 million. Worldwide, it is up to $315.2.
Screen Gems thriller Obsessed, starring Idris Elba, Beyoncé Knowles and Ali Larter, dominated the box office with an estimated $28.5 million, making it the seventh-biggest opening ever for the month of April. The film, which was made for just $20 million, debuted in 2,514 theaters and averaged a strong $11,337 per site.
New Line/Warner Bros.' 17 Again dropped 50.8% in tickets sales and to second place, adding $11.7 million in its second weekend. The Zac Efron comedy has earned $39.97 million so far.
The other three newcomers--Rogue Pictures' Fighting, Warner Bros.' The Soloist, and Disneynature's Earth--took third, fourth and fifth place, respectively. Fighting opened to $11.4 million from 2,309 theaters, The Soloist made $9.7 million in 2,024 theaters, and documentary Earth collected $8.6 million from 1,804 theaters. The latter has made $14.2 million since opening on Wednesday.
DreamWorks Animation's Monsters vs. Aliens followed closely in sixth place with $8.5 million in its fifth weekend. The top domestic earner of the year so far has made $174.8 million. Worldwide, the film has reached $317 million.
In seventh, Universal's State of Play earned $6.9 million its second weekend and stands at $25.1 million, while Disney's Hannah Montana The Movie added $6.4 million in eighth for a total of $65.6 million after three weeks.
Universal's Fast & Furious pulled in $6.1 million in ninth for a total of $145.2 million domestically. The action-thriller, produced for $85 million, is the top international grosser so far with $170 million. Worldwide, it is up to $315.2.
Warner Bros Wins Jonathan Liebesman’s Odysseus: “300 Meets Taken”
Late last week, Warner Bros won a bidding war against Paramount Pictures to gain the rights to Jonathan Liebesman’s Odysseus, a retelling of the story of the legendary Greek King and hero of Homer’s epic poem, the Odyssey. After fighting in the Trojan Wars for 20 years, Odysseus returned home to find his kingdom under the brutal occupation. He is forced to single-handedly fight a battle against an invading force, in order to take back his wife, his son and his kingdom. Producer Gianni Nunnari came up with the story in a general meeting with Liebesman, who brought in screenwriter Ann Peacock who wrote the filmmaker’s Sundance Film Festival thriller The Killing Room.
Listen, I use to call Jonathan Liebesman a hack, His early film efforts left a lot to be desired. We’re talking about the guy who made Darkness Falls and The Texas Chainsaw Massacre: The Beginning. However, my view of Liebesman changed completely after I screened The Killing Room at Sundance. You can tell Liebesman really tried with this film, and created a movie he wanted to see, instead of a movie the studio demanded. It was enough for me to completely forget his earlier horror efforts.
One of the reasons The Killing Room works is because of the tight minimalistic storytelling, on the screen and on the page. I haven’t read Odysseus, but I’ve talked to people who have. And they can’t say enough great things about the tight 90-page screenplay. THR says that the intent is not to make “a sleepy swords-and-sandles epic but a bloody relentless revenge movie,” like 300 meets Taken. Liebesman told FirstShowing that he wants the movie to be a very gritty, hand-held, hardcore revenge movie, comparing it to Rambo, “where one guy just kicks a lot of ass.”
Up next for Liebesman is the sci-fi action film Battle: Los Angeles, which is getting a fix up from Scott Silver before it goes into production. I heard the earlier draft was actually pretty bad, but offered some nice cinematic visuals.
Listen, I use to call Jonathan Liebesman a hack, His early film efforts left a lot to be desired. We’re talking about the guy who made Darkness Falls and The Texas Chainsaw Massacre: The Beginning. However, my view of Liebesman changed completely after I screened The Killing Room at Sundance. You can tell Liebesman really tried with this film, and created a movie he wanted to see, instead of a movie the studio demanded. It was enough for me to completely forget his earlier horror efforts.
One of the reasons The Killing Room works is because of the tight minimalistic storytelling, on the screen and on the page. I haven’t read Odysseus, but I’ve talked to people who have. And they can’t say enough great things about the tight 90-page screenplay. THR says that the intent is not to make “a sleepy swords-and-sandles epic but a bloody relentless revenge movie,” like 300 meets Taken. Liebesman told FirstShowing that he wants the movie to be a very gritty, hand-held, hardcore revenge movie, comparing it to Rambo, “where one guy just kicks a lot of ass.”
Up next for Liebesman is the sci-fi action film Battle: Los Angeles, which is getting a fix up from Scott Silver before it goes into production. I heard the earlier draft was actually pretty bad, but offered some nice cinematic visuals.
Weekly Ratings: 4/19 – 4/23
Sunday Ratings: Edie's Farewell, Prison Break's Return and More
7 pm/ET
NBC's coverage of the Miss USA Pageant averaged nearly 5 million viewers over its two-hour run.
8 pm
The Amazing Race topped the hour with 10.4 million total viewers, followed by a repeat of Extreme Makeover: Home Edition (7.56 mil). Fox's Sit Down, Shut Up premiered to 5.2 mil, fumbling 20 percent of lead-in The Simpsons' audience.
9 pm
An audience of 13.65 million turned up for Desperate Housewife Edie's final hurrah, a 7 percent drop from the show's last fresh outing. CBS/Hallmark's The Courageous Heart of Irena Sendler placed second, averaging 9.82 mil over its two-hour run. (Watch my video Q&A with Anna Paquin here, fourth item down.) Celebrity Apprentice's double-elimination drew 8.32 mil, a three-week high.
10 pm
Brothers & Sisters topped the demos but was matched in total viewers (9.63 mil) by Irena Sendler; in fact, CBS' TV movie pulled ahead of the ABC serial by the end of the night.
Monday Ratings: Castle Looks Sharp as Horatio Takes a Siesta
8 pm/ET
Dancing with the Stars averaged 20.28 million total viewers over its 90-minute run, up 6 percent week-to-week. A special Monday broadcast of Bones followed with an audience of 8.38 mil, a drop of 470K from its last Thursday foray. Trailing CBS sitcom repeats, an especially Awesome episode of Chuck drew 6.05 mil, dipping 170K. Gossip Girl talked to 2.36 mil, down 120 thou.
9 pm
Leading out of a Two and a Half Men repeat, Rules of Engagement (10.59 million viewers) dropped more than a mil, placing behind ABC's Surviving Suburbia (10.86 mil) at the half-hour mark. 24 clocked in with 10.28 mil, down 550K, while Heroes (6.36 mil) resumed its stumbling ways, slipping 9 percent. One Tree Hill (2.42 mil) ticked up 130K.
10 pm
With a Mentalist repeat (9.43 mil) subbing for CSI: Miami, ABC's Castle enjoyed an 11 percent surge, hitting 8.44 mil. Medium (7.36 mil), however, missed out on the opportunity, dropping 220 thou.
Tuesday Ratings: Biggest Loser Climbs, Reaper Rises
8 pm/ET
American Idol's Disco Night hustled 23.24 million total viewers, matching the audience of last week's sing-off. The Biggest Loser followed with 9.3 mil, its largest audience in six weeks and its best demo delivery since Feb. 3. A pair of According to Jims trailed CBS sitcom repeats, averaging 3.7 mil (down 17 percent week-to-week). Reaper reaped a 19-percent gain, hitting 2.45 mil.
9 pm
Dancing with the Stars' results show drew 14.47 mil, dipping 300 thou. It was followed by an NCIS repeat (12.34 mil). Fringe scared up 10.52 mil, dropping 9 percent. 90210 inched up to 2.23 mil.
10 pm
A Mentalist repeat won the hour with 12.32 mil, followed by a not-new SVU (7.13 mil). A special Tuesday try-out for ABC's The Unusuals attracted 6.3 mil, which is on par with its last Wednesday outing.
Wednesday Ratings: Top Model Better than Ted
8 pm/ET
What a feeling! Lie to Me led the pack with 7.88 million total viewers, dipping 6 percent from its last outing. It was followed by a Law & Order repeat and CBS laffer leftovers. ABC's Scrubs (4.66 mil) and Better Off Ted (4.2 mil) both dropped 12 percent week-to-week. In fact, Ted got bested in its half hour — in total viewers and demos — by Top Model, which inched up 200K to flirt with 4 mil.
9 pm
American Idol's double-elimination delivered 23.3 million viewers, slipping just a hair from last week's results show. (Side note: Did anyone else get the feeling KC hasn't sung that song since, I dunno, Dec. 31, 1979?) A Criminal Minds repeat claimed second with 9.75 mil, followed by Lost's clip show (6.64 mil) and an SVU rerun.
10 pm
It was BAU — yet not — for Criminal Minds, which bested all comers in a later time slot, drawing 13.55 mil. Lagging behind a(nother) Law & Order repeat, ABC's The Unusuals copped 4.97 mil, down about 20 percent from the freshman dramedy's average-to-date.
Thursday Ratings: Grey's Ails on an Overall Lousy Night
This Thursday, every single network show — save for one! — dropped (if not plunged) from its previous outing. Here's how the breakdown breaks down:
8 pm/ET
Survivor topped the hour with an audience of 11.38 million total viewers, down 240K week-to-week. Bones sewed up second with 8.22 mil, down 500 thou. My Name Is Earl was the night's lone gainer, inching up 200K to 5.5 mil. Lead-out Parks and Recreation, however, dropped 11 percent, to 5.24 mil. Smallville barely managed 3 mil, plunging 19 percent from its last fresh outing.
9 pm
CSI (14.45 mil, -970K) drew the biggest audience, while Grey's Anatomy (13.2 mil, down 16 percent) topped the demos. Both The Office (7.21 mil) and 30 Rock (6.35 mil) slipped 12 percent. Supernatural sank 16 percent, delivering 2.76 mil.
10 pm
Private Practice took No. 1 with 9.23 million viewers, down 12 percent. Southland scored second, freefalling 16 percent to 8 mil, while Harper's Island (7.48 mil) saw another 690 thou get snuffed.
7 pm/ET
NBC's coverage of the Miss USA Pageant averaged nearly 5 million viewers over its two-hour run.
8 pm
The Amazing Race topped the hour with 10.4 million total viewers, followed by a repeat of Extreme Makeover: Home Edition (7.56 mil). Fox's Sit Down, Shut Up premiered to 5.2 mil, fumbling 20 percent of lead-in The Simpsons' audience.
9 pm
An audience of 13.65 million turned up for Desperate Housewife Edie's final hurrah, a 7 percent drop from the show's last fresh outing. CBS/Hallmark's The Courageous Heart of Irena Sendler placed second, averaging 9.82 mil over its two-hour run. (Watch my video Q&A with Anna Paquin here, fourth item down.) Celebrity Apprentice's double-elimination drew 8.32 mil, a three-week high.
10 pm
Brothers & Sisters topped the demos but was matched in total viewers (9.63 mil) by Irena Sendler; in fact, CBS' TV movie pulled ahead of the ABC serial by the end of the night.
Monday Ratings: Castle Looks Sharp as Horatio Takes a Siesta
8 pm/ET
Dancing with the Stars averaged 20.28 million total viewers over its 90-minute run, up 6 percent week-to-week. A special Monday broadcast of Bones followed with an audience of 8.38 mil, a drop of 470K from its last Thursday foray. Trailing CBS sitcom repeats, an especially Awesome episode of Chuck drew 6.05 mil, dipping 170K. Gossip Girl talked to 2.36 mil, down 120 thou.
9 pm
Leading out of a Two and a Half Men repeat, Rules of Engagement (10.59 million viewers) dropped more than a mil, placing behind ABC's Surviving Suburbia (10.86 mil) at the half-hour mark. 24 clocked in with 10.28 mil, down 550K, while Heroes (6.36 mil) resumed its stumbling ways, slipping 9 percent. One Tree Hill (2.42 mil) ticked up 130K.
10 pm
With a Mentalist repeat (9.43 mil) subbing for CSI: Miami, ABC's Castle enjoyed an 11 percent surge, hitting 8.44 mil. Medium (7.36 mil), however, missed out on the opportunity, dropping 220 thou.
Tuesday Ratings: Biggest Loser Climbs, Reaper Rises
8 pm/ET
American Idol's Disco Night hustled 23.24 million total viewers, matching the audience of last week's sing-off. The Biggest Loser followed with 9.3 mil, its largest audience in six weeks and its best demo delivery since Feb. 3. A pair of According to Jims trailed CBS sitcom repeats, averaging 3.7 mil (down 17 percent week-to-week). Reaper reaped a 19-percent gain, hitting 2.45 mil.
9 pm
Dancing with the Stars' results show drew 14.47 mil, dipping 300 thou. It was followed by an NCIS repeat (12.34 mil). Fringe scared up 10.52 mil, dropping 9 percent. 90210 inched up to 2.23 mil.
10 pm
A Mentalist repeat won the hour with 12.32 mil, followed by a not-new SVU (7.13 mil). A special Tuesday try-out for ABC's The Unusuals attracted 6.3 mil, which is on par with its last Wednesday outing.
Wednesday Ratings: Top Model Better than Ted
8 pm/ET
What a feeling! Lie to Me led the pack with 7.88 million total viewers, dipping 6 percent from its last outing. It was followed by a Law & Order repeat and CBS laffer leftovers. ABC's Scrubs (4.66 mil) and Better Off Ted (4.2 mil) both dropped 12 percent week-to-week. In fact, Ted got bested in its half hour — in total viewers and demos — by Top Model, which inched up 200K to flirt with 4 mil.
9 pm
American Idol's double-elimination delivered 23.3 million viewers, slipping just a hair from last week's results show. (Side note: Did anyone else get the feeling KC hasn't sung that song since, I dunno, Dec. 31, 1979?) A Criminal Minds repeat claimed second with 9.75 mil, followed by Lost's clip show (6.64 mil) and an SVU rerun.
10 pm
It was BAU — yet not — for Criminal Minds, which bested all comers in a later time slot, drawing 13.55 mil. Lagging behind a(nother) Law & Order repeat, ABC's The Unusuals copped 4.97 mil, down about 20 percent from the freshman dramedy's average-to-date.
Thursday Ratings: Grey's Ails on an Overall Lousy Night
This Thursday, every single network show — save for one! — dropped (if not plunged) from its previous outing. Here's how the breakdown breaks down:
8 pm/ET
Survivor topped the hour with an audience of 11.38 million total viewers, down 240K week-to-week. Bones sewed up second with 8.22 mil, down 500 thou. My Name Is Earl was the night's lone gainer, inching up 200K to 5.5 mil. Lead-out Parks and Recreation, however, dropped 11 percent, to 5.24 mil. Smallville barely managed 3 mil, plunging 19 percent from its last fresh outing.
9 pm
CSI (14.45 mil, -970K) drew the biggest audience, while Grey's Anatomy (13.2 mil, down 16 percent) topped the demos. Both The Office (7.21 mil) and 30 Rock (6.35 mil) slipped 12 percent. Supernatural sank 16 percent, delivering 2.76 mil.
10 pm
Private Practice took No. 1 with 9.23 million viewers, down 12 percent. Southland scored second, freefalling 16 percent to 8 mil, while Harper's Island (7.48 mil) saw another 690 thou get snuffed.
Olyphant to Star in FX's Fire in the Hole Adaptation
Timothy Olyphant (Hitman, Live Free or Die Hard, "Deadwood") has been set to play the lead in FX's drama pilot based on Elmore Leonard's short story "Fire in the Hole," says The Hollywood Reporter.
The untitled project, from Sony TV, Timberman/Beverly Productions and creator/executive producer Graham Yost, centers on U.S. Marshal Raylan Givens (Olyphant) who returns to his hometown in Kentucky.
"He has a certain jaggedness, but he also loves his job," Yost said. "He is like an anachronism: He wears a hat, cowboy boots and a holster on his hip. It's a little bit like he was born 100 years too late."
The pilot, to be directed by Michael Dinner, starts production at the end of May.
The untitled project, from Sony TV, Timberman/Beverly Productions and creator/executive producer Graham Yost, centers on U.S. Marshal Raylan Givens (Olyphant) who returns to his hometown in Kentucky.
"He has a certain jaggedness, but he also loves his job," Yost said. "He is like an anachronism: He wears a hat, cowboy boots and a holster on his hip. It's a little bit like he was born 100 years too late."
The pilot, to be directed by Michael Dinner, starts production at the end of May.
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