OSCARS: Pina Wim Wenders

Tim Adler is a contributor to AwardsLine Watching Pina, Wim Wenders 3D documentary about the abrasive-tender, jaunty-tormented work of choreographer Pina Bausch, it is ironic that the Oscars has only ever recognized this master German filmmaker for his documentaries. Buena Vista Social Club was nominated for an Oscar in 2000. And now Pina is up for the Documentary Feature Academy Award on February 26. Of course, there has been a non-fiction line throughout Wenders career. He started taking documentary photographs at age 7, and has made feature-length documentaries since 1980. Wenders himself says his fiction films have a documentary feel, while his documentaries always have a fairy-tale aspect to them — the Cinderella story of Cuban street musicians working as shoeshine boys elevated to playing Carnegie Hall in Buena Vista Social Club being a case in point. Actually, theres a double irony here: Not only is Wenders, director of such seminal European arthouse movies as Wings of Desire and Paris Texas, most feted these days for documentaries but they are documentaries about other artists, arguably those with an even stronger artistic drive than his own: Willie Nelson, Ry Cooder and Japanese director Yasujiro Ozu are some of the artists he has made films about. There is a sense among people who have worked with him that his days as an auteur filmmaker ranking alongside such greats as Ingmar Bergman or Michelangelo Antonioni may be behind him, and that he has settled into the second division. His last fiction film, Palermo Shooting, was booed when it played in competition at Cannes in 2008. Critics described it as excruciating and inconsequential and an on-screen dedication to Ingmar and Michelangelo only fuelled catcalls in the Grand Palais. If Wenders fiction career has sputtered, there is no denying how Pina has rejuvenated him. The documentary has grossed $12 million worldwide to date. He has talked about only making films in 3D from now. For too long, he says, 3D has been the preserve of cynical Hollywood blockbusters. All movie documentaries will be filmed three-dimensionally, he has predicted, and he is developing another 3D docu about architecture. Deepak Nayar, who has produced three of Wenders movies, says: Hes true to what he wants to do rather than sell out. Thats what makes him an auteur. Building design is just one of Wenders interests: He has also been an engraver, philosopher and painter and is currently writing a novel. Hes a true polymath, a director whos interested in music, dance, performance and fine art, one admirer says. And his long association with the music scene, directing videos for U2 and Taking Heads, means he is that rarest of creatures: a rocknroll intellectual. Opinion is divided as to what he is like personally. Pleasant in a slightly cool way, sums up one friend. Hes very funny. He cracks me up, Nayar says. Unlike some European masters of his generation, he is not snobbish or unapproachable although he is conscious of his own position, says one distributor. Vain, self-indulgent and in love with himself, carps another colleague. Whatever the truth of this is, Wenders is certainly loved by those who work with him. Cinematographer Phedon Papamichael, in demand for Hollywood blockbusters (Knight and Day), has turned down better-paying gigs to work with him. And, in a world which is so often what-can-you-do-for-me-today, Wenders remains loyal to past collaborators. When he throws parties, he often invites people he hasnt worked with for more than a decade. That defines a person, Nayar says. Even at his budget level of auteur filmmaking, he works democratically. There is no doubting his popularity on the film festival circuit. When you’re with Wim, suddenly you can get in everywhere, laughs producer Nigel Thomas, who produced the portmanteau film Ten Minutes Older. Although his longevity is appreciated in his homeland, he is not regarded as a national treasure. He has been kept away from the levers of power distributing state funding to other filmmakers. And he has found it increasingly difficult to raise money out of Germany itself. Partly, its because the market for the kind of films Wenders makes has shrunk: the days when he could raise $23 million to make Until the End of the World (1991) ($830,000 domestic B.O.) are long gone. Today Wenders can only hope to raise $3-4 million out of Europes subsidy system. He made Land of Plenty in 2004 with Michelle Williams for just $500,000. Also, his slightly cool, dispassionate films have made him and his refusal to please an audience go out of fashion. Once the Berlin Wall came down, Germany busied itself with construction and reunification; the space for public intellectuals like Wenders got smaller. He is not part of the zeitgeist anymore. Wenders says: A track record doesnt really count for anything. Its easier to get a film funded as a first-time director than if youre an old hand like me. Anyone would agree that Wings of Desire and Paris Texas were groundbreaking in their time, but these have been exceptions rather than the rule. Critics say his films are pretentious. There is a nagging sense among those who have followed his career that at times this particular Emperor and Wenders is noted for his flamboyant fashion sense may not be wearing any clothes at all. People had written Wim off, Nayar says, but with Pina hes come back strongly. (Wenders photo: Getty Images)

Bill Hinzman dies at 75

Actor and filmmaker Bill Hinzman, best known for his role as the first zombie shambling across a cemetery in George Romero's "Night of the Living Dead," died of cancer Feb. 5 in Darlington, Pa. He was 75. The 1968 horror pic launched Hinzman on a long career of creepy roles in what many consider to believe was a new horror genre. His other film credits include "The Crazies" (1973), "Flesheater" (1988) and "Legion of the Night" (1995). His last movie role was in last year's "River of Darkness."Hinzman also worked as a cinematographer, beginning with "The Crazies," and directed, as well as starred in, "Flesheater" and "The Majorettes" (1987).According to the Chicago Sun-times, he is survived by his wife, Bonita, a daughter, his mother, two brothers and a granddaughter. Contact Variety Staff at news@variety.com

Music's Best Remember Whitney Houston

Kelly Rowland The annual celebration of music's brightest stars turned into an emotional tribute for one of the most iconic performers of all time, after Whitney Houston suddenly passed away on February 11, a day before the Grammy Awards. "This is my 11th show, and I would say this is the most emotional Grammys that I've ever personally been involved in... but it needed to be," said Neil Portnow, president of The Recording Academy, after the show. "My goal was pretty clear," he added. "[The tribute] needed to be simple, it needed to be elegant, it needed to be uplifting, it needed to be inspirational and it needed to be healing because we're all hurting so badly." Moments before the show, guests and performers shared their thoughts on Houston's death as they hit the busy red carpet with mixed emotions. "I feel conflicted," Gayle King told TV Guide Magazine. "You want to celebrate the people who have worked so hard all year long, but of course everybody feels very sad about the passing of Whitney Houston." Guests came prepared to share their favorite memory or Whitney song, and the admiration for Houston's talent was unanimous among her peers. "Whitney Houston was a brilliant singer, [and] a great technician," said Corinne Bailey Ray. "As a girl, I was inspired by her joyfulness, and as a musician I'm inspired by her technical skills and the way she made something sound effortless." The awards show itself - a series of complex puzzle pieces that somehow come together the evening before the live telecast - also faced some challenges, with a last-minute addition of "I Will Always Love You" performed by Jennifer Hudson. Prior to the show, Kelly Rowland expressed concern for her friend and the pressure to perform under the circumstances. "I don't know how she's going to contain her emotions," the Destiny's Child singer said. "I know she is [nervous]." And while many relived their encounters with the legendary songstress, others were thrilled just to have been part of her life in some small way. "I didn't meet her, but I met [Whitney's daughter] Bobbi Kristina, and she said that they watched Drake & Josh and her mom thought I was funny," recalls Community's Yvette Nicole Brown. "So she knew that I existed and that was enough for me."Subscribe to TV Guide Magazine now!

VIDEO: Camping Up With 'Joyful Noise' Director Todd Graff

"It's all regulated visiting the same playbook again and again," confesses "Pleased Noise" director Todd Graff. "It's not only people carrying out, but carrying out in competitions and benefits and large final amounts."Having a filmography that includes the musical features "Bandslam" (2009) and "Camping" (2003), it's difficult to deny the presence of a pattern around the director's resume. Projects that celebrate diversity among youthful entertainers have grown to be Graff's p facto phone card. It is a apparently natural extension from the career he released like a pre-teen actor on "The Electrical Company," the landmark seventies TV variety reveal that notoriously brought to wider audiences a youngthough in no way teenagedMorgan Freeman.Back Stage swept up with Mr. Graff among final seem-mixing periods for "Noise" to mirror around the ten years -- and three seasons of "Glee" -- since the building of "Camping," and also the joys to be "pigeonholed." (We ought to be so lucky.)Charged as "a comedy about drama" and launched to reviews that are positive but little promotion around the arthouse circuit, "Camping" might not have received much attention in the box office, but because of DVD and frequent airings on IFC, the film continuously gained bona-fide cult favorite status among scores of youthful entertainers who could appreciate its place-on ribbing from the hilariously age-inappropriate repertoire sometimes present in adolescent theater programs.Just to illustrate: Future Oscar nominee Anna Kendrick marks her film debut by belting an average, literally scene-stealing version of "Girls That Lunch" from Stephen Sondheim's "Company." Other "Camping" outbreaks include Robin DeJesus, who during the time of filming had not visited a Broadway show, but who'd later go onto score Tony nominations for his performances within the Broadway productions of "Within the Levels" and "La Cage aux Folles."But possibly exactly what the film most touchingly captures may be the feeling of belonging that each one of the campers feels while releasing their inner diva/divo in the imaginary "Camping Ovation," an arc similar to the misfit people of the certain club on the particular FOX TV mega-franchise."'CAMP' is dependant on a genuine camp where I visited and labored at," discloses Graff, mentioning to his stint at Stagedoor Manor, a common Upstate NY theater camping whose famous alumni include Natalie Portman, Zach Braff, Jennifer Jason Leigh, and possibly towards the surprise of nobody, Jum Michele. It had been throughout his tenure like a counselor (entrusted using the proper care of a youthful Robert Downey, Junior., amongst others), that Graff truly started to understand the stockpile of confidence that the camping atmosphere presented in the brood of ambitious youthful talent, a lot of whom were utilised for you to get tossed to their school lockers another 10 several weeks of the season.Inch[Stagedoor] is much like Oz of these kids," he appreciates but whereas "'Glee' is showing a college in which the kids have this haven each day, 'CAMP' is showing this place where it's type of like 'Brigadoon.' It only is available for a few several weeks and they have to return to their crappy real lives."While fans of Graff's film could make the situation that "Camping" and "Glee" share exactly the same DNA, the director stresses that such evaluations are superficial at best. "I am a really large 'Glee' fan," he states. "By no means will i seem like you may never have 'Glee' basically did not make 'CAMP,' that isn't it whatsoever. They are both clearly about kids who're deeply in love with carrying out, and youngsters who seem like outsiders that do not easily fit in and face lots of harassment and persecution within their lives outdoors of Glee Club or theater camping, however i believe that the primary difference has related to you skill in television and you skill inside a movie. My impression would be that the show has covered many of the same types of emotional territory that people do in 'CAMP,' but our film was an indie created by Killer Filmsit would not meet network standards and practices the way in which 'Glee' must.InchContrary, Graff relishes the strong niche afterlife "Camping" has loved, likening it to 1 of individuals rare original cast tracks his imaginary (and real existence) campers would salivate over. "There's an excellent musical known as [title of show], as well as in it they sing an audio lesson that goes 'I'd prefer to be nine individuals first favorite factor than 100 individuals ninth favorite factor,' so when I [heard that line] I figured, 'That is CAMP'," Graff states. "For a lot of the couple of individuals who first viewed it, it grew to become an essential movie on their behalf, that is very satisfying. They taken care of immediately it and required possession from it in ways that maybe they do not do for a lot of other movies."With "Pleased Noise" because the latest entry in the unofficial "let us placed on a show" trilogy, Graff shows no manifestation of switching genres and dismisses the idea of change simply with regard to change because he embarks on his next project."Many people make Westerns, many people make war movies, many people make horror movies. This is exactly what I actually do,Inch he states, with no smallest hint of defensiveness. "It's only some of the factor I believe I possibly could ever do, but I am happy carrying this out. I ended taking traditional work with hire years back. I have only done three movies within the last eight years, and despite the fact that they are all within the same genre, they are very personal in my experience, and they're exactly what i'm saying these to be. My agent stated that for my next movie I ought to be cautious and never do another musical because I'm going to be pigeonholed. I stated to him, 'What do you consider I'm, 25?' I most likely have only five more movies within me before I die, therefore if they are all within this genre, I'm going to be perfectly happy."If you are looking at following in Graff's actions like a Stagedoor Manor counselor, make sure to take a look at their approaching auditions. Click the link to see the casting notice at Backstage.com. "Camping" can be obtained to stream via Netflix. "Pleased Noise" is within theaters now.

New viral site for that Amazing Spider-Guy

If you are anything like us, you'll have spent a lot of yesterday beaming as an idiot within the new trailer for that Amazing Spider-Guy. However, among your excitement over Peter Parker's new adventure, have you spot the hidden message in the finish from the teaser?Should you visit again a clip below, you will see a really faint message written on among the metallic bars once the film's release date is proven. It's around the two:28 mark, towards the bottom left-hands corner from the screen.Try to place it, below... What read "Mark from the Spider-Guy." Nothing thrilling about this, you may think, except whenever you add .com around the finish, you receive rerouted for this completely new viral site.Now, right now there is nothing on the website except a sextet of screens showing static interference, and Spidey's aforementioned symbol. However, we'd wager that some footage will make itself apparent on individuals screens at some point.Maintain checking the website within the coming days and tell us whenever you place things. The Astonishing Spider-Guy will open within the United kingdom on 4 This summer 2012.

Sue Dwiggins Worsley dies at 97

Sue Dwiggins Worsley, a author, production coordinator and production secretary, died at her home in Studio City, Calif., on 12 ,. 31. She was 97. Inside the 19 fifties, she broke to the fledgling television market by writing scripts for "The Gene Autry Show." Later she labored inside the production offices of Gene Autry Prods. and, inside the sixties, for Four Star Television and last century Fox.While keeping focused around the Warner Bros. output of "Deliverance" in Georgia in 1971, she met and married her third husband, production manager Wallace Worsley Junior., and subsequently grew to become part of him being created offices for location shooting on films including "Coal Miner's Daughter," "Whose Existence Can It Be Anyway?," "ET: The Extra-Terrestrial" and " 'night, Mother," as well as on the Vital miniseries for NBC "Shogun." She was production coordinator on "ET."Extended active in industry politics, Sue Dwiggins Worsley was one of the backers of union representation for production organizers, who grew to become part of IATSE as Production Office Organizers in 1978. Worsley was produced Miriam Gretchen Sues in La. Her father Simmons Albert Sues will be a cameraman on quiet series "The Potential Risks of Helen," among many other early "flickers." Her mother Muriel Sues (nee McCoy) will be a appear editor at MGM. She was married in 1938 to Don Dwiggins, a newspaper and book author, too as with 1952 to William Bradford, a cameraman at Republic Pictures. Both close ties brought to divorce.She outdated in the market in 1991 upon the dying of husband Wallace Worsley Junior. She's managed to get having a boy together with a daughter seven grandchildren and diverse great-grandchildren.Donations may be made to the Lily La Cava Scholarship Fund, IATSE Local 871, 11519 Chandler Blvd., North Hollywood, CA 91601. Phone: 818-509-7871 Contact Variety Staff at news@variety.com