Terry Gilliam Among EFA Short Film Noms

Fifteen short films are now nominated for the European Film Awards.This years final nomination was justannounced at the International Short Film Festival in Drama (Greece):Terry Gilliam’s The Wholly Family. (He received the European Film Academy Lifetime Achievement Award in 2001.)The short film initiative is organised by the European Film Academy in co-operation with a series of film festivals throughout Europe. At each of these festivals, an independent jury presents one of the European short films in competition with a nomination in the short film category of the European Film Awards. The nominees will now be presented to the over 2,500 EFA memberswho will elect the overall winner. The European Film Academy Short Film 2011will be presented at the 24th European Film Awards Ceremony onDecember 3rd in Berlin. The nominated short films are: EFA Short Film Nominee Ghent BERIK by Daniel Joseph Borgman Denmark 2010, 16 min., fiction EFA Short Film Nominee Valladolid SM BARN, STORA ORD (Little Children, Big Words) by Lisa James-Larsson Sweden, 12 min., fiction EFA Short Film Nominee Cork HNDELSE VID BANK (Incident by a Bank) by Ruben stlund Sweden 2010, 12 min., fiction EFA Short Film Nominee Bristol DERBY by Paul Negoescu Romania 2010, 15 min., fiction EFA Short Film Nominee Angers JESSI by Mariejosephin Schneider Germany, 31 min., fiction EFA Short Film Nominee Rotterdam I LUPI (The Wolves) by Alberto de Michele Italy/the Netherlands 2010, 17 min., documentary EFA Short Film Nominee Berlin TERFDELSEN (The Unliving) by Hugo Lilja Sweden 2010, 28 min., fiction EFA Short Film Nominee Tampere APELE TAC (Silent River) by Anca Miruna Lzrescu Germany/Romania 2011, 30 min., fiction EFA Short Film Nominee Cracow PAPARAZZI by Piotr Bernas Poland, 33 min., documentary EFA Short Film Nominee Grimstad LA GRAN CARRERA (The Great Race) by Kote Camacho Spain 2010, 7 min., fiction, EFA Short Film Nominee Vila do Conde DIMANCHES by Valry Rosier Belgium, 16 min., fiction EFA Short Film Nominee Sarajevo TSE (Out) by Roee Rosen Israel 2010, 35 min. EFA Short Film Nominee Locarno OPOWIESCI Z CHLODNI (Frozen Stories) by Grzegorz Jaroszuk Poland 2011, 26 min., fiction EFA Short Film Nominee Venice HYPERCRISIS by Josef Dabernig Austria, 17 min., fiction EFA Short Film Nominee Drama THE WHOLLY FAMILY by Terry Gilliam Italy, 20 min., fiction

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Universal Preps New Scarface Movie

EXCLUSIVE: Universal Pictures is developing a new version of Scarface, the title first released in 1932 and then turned into the iconic 1983 film that starred Al Pacino as Cuban gangster Tony Montana. I’d heard that the studio has been meeting writers to script a take for a film that will be produced by Marc Shmuger and his Global Produce banner along with Martin Bregman. Bregman produced the Pacino version. The film is not intended to be a remake or a sequel. It will take the common elements of the first two films: an outsider, an immigrant, barges his way into the criminal establishment in pursuit of a twisted version of the American dream, becoming a kingpin through a campaign of ruthlessness and violent ambition. The studio is keeping the specifics of where the new Tony character comes from under wraps at the moment, but ethnicity and geography were important in the first two versions. In the 1932 Scarface, an Italian (Paul Muni) took over Chicago, and in the Brian De Palma-directed remake, a Cuban cornered the cocaine trade in 1980s Miami, only to be consumed by it. Ann Dvorak, George Raft and Boris Karloff starred in the original and Michelle Pfeiffer, Steven Bauer and Mary Elizabeth Mastrontonio starred in the remake. Does the iconic Universal library title Scarface deserve an updated version for a new generation? I’m told that when Universal put together the 1983 film, there were howls of heresy; after all, the film was considered a Howard Hughes-produced classic, with a script by Ben Hecht. Howard Hawks directed it with Richard Rosson. The remake became iconic in its own way, particularly in influencing hip-hop culture. Tony Montana’s image is still widely merchandised; his signature line “Say hello to my little friend’ remains the biggest selling cell phone voice ringtone, and Universal has sold over 10 million DVD units worldwide.

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Lovely Molly

A Haxan Films and Amber Entertainment presentation. Produced by Robin Cowie, Gregg Hale, Jane Fleming, Mark Ordesky. Executive producers, J. Andrew Jenkins, Robert Eick. Directed, put together by Eduardo Sanchez story, Jamie Nash.With: Gretchen Lodge, Johnny Lewis, Alexandra Holden, Area Blauvelt."Lovely Molly" signifies a spooky but scattershot attempt by author-director Eduardo Sanchez to meld the initial-person handheld aesthetic of his 1999 horror landmark "The Blair Witch Project" getting a far more straightforward bump-in-the-evening thriller. Around Sanchez aided to pioneer the found-footage technique that has since produced numerous imitations, the gimmick feels ill motivated within the muddled tale from the youthful lady who foolishly moves in to the house where she spent her abusive childhood. Still, before it tips over into banshee-wailing, screwdriver-transporting unpleasantness, this experimental exercise produces some legitimate shivers that could lure fringe horror fans in niche release. Wedding couple Molly (Gretchen Lodge) and Tim (Johnny Lewis) have chosen to economize through getting into the old, creaky countryside manse that has been in Molly's family for many years and contains been not lived on since the dying of her father. Nobody thinks to warn the happy couple it is not truly the best strategy -- not necessarily Molly's sister, Hannah (Alexandra Holden), with whom she clearly shares uncomfortable girlhood recollections that are never clearly laid bare. Soon security sensors and unsettling noises are disturbing the couple's slumber, and Molly is rattled and shook and shook having a noisy pounding at her door, even though regular police visits don't arrive evidence of an thief. With truck driver Tim frequently on the road, Molly becomes progressively disturbed and, a la "Paranormal Activity," starts employing a video camera to record her actions at home, wanting to capture evidence of the menacing presence she will get so really. These nocturnal sequences are undeniably effective at first, masterfully drawing the viewer's anxiety over what might lurk inside the shadows, lower the staircase or behind a closet door. But it's something that can't sustain itself. An early on, costly-forward video capture of Molly, hysterically addressing the digital camera while clearly inside the advanced stages of madness or demonic possession, seems to wink at Louise Donahue's close-up monologue in "Blair Witch" -- an assessment that serves only to underscore how shoehorned-inside the technique feels in this more routinely frightening context. It's tough to shake the notion that Sanchez (working in the story by Jamie Nash) made his protag a newcomer filmmaker partly to draw attention away within the deficit in the material, as Molly's derangement leads her lower the expected paths: leading to problems in the office, shunning clothing and making inventive usage of household tools. With sharp features together with a detailed-sprang look of your hair that lend her an abnormally tough, spunky visit a horror heroine, Lodge provides a completely committed performance, sometimes going screechily over-the-top but creepily finishing Molly's transformation in to a dead-eyed, bare-bodied succubus. Holden and Lewis work enough as her concerned family people. Having its bare walls, sparse decor and overall atmosphere of chill and rot, the house provides all the production value "Lovely Molly" needs. Tech package is rough by design, and no matter the problematic juxtaposition of first-person and third-person perspectives, d.p. John W. Rutland and editor Andrew Vona get a reasonably coherent combination of footage. Soundscape is remarkably detailed, though repeated wailings of "Mollyyyyyyyyy..." tether the film for the cheesy horror tradition it's clearly trying to transcend.Camera (color, HD), John W. Rutland editors, Andrew Vona, Sanchez music, Tortoise production designer, Andrew White-colored set decorator, Natalie McAdoo-Howard appear, James Ridgley appear designers, Matt Davies, David West supervisory appear editor/re-recording mixer, Kevin Hill effects coordinator, Mark Fenlason visual effects supervisor, Tim Carras visual effects, Comen VFX casting, Pat Moran. Examined at Toronto Film Festival (Evening time Madness), Sept. 15, 2011. Running time: 100 MIN. Contact Justin Chang at justin.chang@variety.com

TV TEASER: Exclusive Glee Premiere Clip

We’ll get lots of Jane Lynch on Sunday once the Glee star hosts the Primetime Emmy Honours. However, here's she as her tracksuit-loving, glee club-bashing character Sue Sylvester within an exclusive clip in the approaching third season premiere of Glee, which airs on Tuesday. Within the last 24 months, Sue Sylverster continues to be trying unsuccessfully to seal lower the brand new Directions glee club. Now, she takes her efforts towards the condition level, making suspending all public school arts programs a cornerstone of her campaign for Congress. This is actually the campaign edition of her Sue’s Corner weekly segment about the local Ohio TV station. rtmp://streaming.tvline.com/ondemand/video/glee_301_2011-09-16.flv

David Seidler, Jason Katims Among Winners Of Humanitas Prize

David Seidler’s The King’s Speech and an episode of Friday Night Lights penned by Jason Katims were among the winners of the Humanitas Prize, which were unveiled today during a ceremony at Montage Beverly Hills. A total of 11 winners received took home a total of $85,000 in prize money for films and TV shows that “entertain, engage and enrich the viewing public.” The organization also bestowed its Kieser Award to Gary David Goldberg. Here’s the full list of winners: Feature Film Category ($10,000) David Seidler: THE KINGS SPEECH 90 Minute Category ($10,000) George Stevens, Jr.: THURGOOD 60 Minute Category ($10,000) Jason Katims.: FRIDAY NIGHT LIGHTS Always 30 Minute Category ($10,000) Abraham Higginbotham: MODERN FAMILY The Kiss Sundance Feature Film Category ($10,000) Thomas McCarthy: WIN WIN Childrens Animation Category ($10,000) Jonathan Groff & Jon Pollack: KUNG FU PANDA The HUMANITAS Documentary Award – Sponsored by OWN ($5,000) Greg Jacobs & Jon Siskel: LOUDER THAN A BOMB The David & Lynn Angell Fellowship in Comedy Writing ($10,000) Robin W. Morton: Spec Script of MODERN FAMILY Life is Beautiful (UCLA) The HUMANITAS Student Drama Fellowship ($10,000) Amy Ripley: Original Script of INKLINGS Pilot (USC)

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Fox Orders 4 More Episode Of Bones

After downsizing the arrival seventh season of Bones from 22 to 13 episodes because of being pregnant of star Emily Deschanel, Fox has elevated a purchase to 17 episodes, our sister site TV Line reviews. The additional episodes won't air this season but inside the summer season or may be held for next season.

SAG Member Cops Plea On Screener Leak

Actor Wes DeSoto has agreed toplead guilty to copyright infringement for leaking an awards screener of Black Swan and other films to file-sharerBitTorrent. DeSoto’s L.A. apartment was raided by FBI agents in April after a MPAA piracy officer tipped the feds that several high-qualitycopies of feature films had shown up on the site. The bootlegs were review screeners provided through the iTunes store to members of the Screen Actors Guild. The authorities pinpointed DeSoto as the culprit through digital watermarks in the movies, according to an FBI affadavit. Federal sentencing guidelinescall for a sentence between 10 to 16 months, but the government is seeking three years of probation and restitution. DeSoto is expected to appear in federal court for sentencing next month.

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