CBS orders three comedy aircraft pilots

CBS has became a member of the late-Friday hurry of pilot orders, greenlighting three laffers, including one a in the Iron Guy of pilot season, Greg Berlanti, and "Buddies" vet Greg Malins. The untitled Warner Bros. TV project form Berlanti and Malins focuses on a guy who realizes following a health scare that he's deeply in love with his femme closest friend and business partner of fifteen years. Malins and Berlanti composed the pilot and can professional produce. Project marks an uncommon foray in to the half-hour realm for Berlanti, that has already arrived three drama pilot orders this development cycle spread among Fox, CBS and CW. Another Warner Bros. TV project originates from "Will & Sophistication" alums Max Mutchnick and David Kohan. "Partners" involves two long term male buddies whose relationship is sort of a strange marriage that's examined when one decides to got married. Duo will professional produce. Buddy comedy "Friend Me," from CBS TV Galleries, was composed by Alan Kirschenbaum & Ajay Sahgal. It set among two twenty-something men who range from Indiana to L.A. to dedicate yourself Groupon. Kirschenbaum and Sahgal professional produce with Eric and Kim Tannenbaum. Contact Cynthia Littleton at cynthia.littleton@variety.com

Antipiracy bills delayed in Congress

Hollywood-backed antipiracy legislation stalled out on Capitol Hill today, as Senate and House versions were delayed to come up with major changes to the bills.Senate Majority Leader Harry Reid (D-Nev.) said that he is postponing a vote on a Senate version of antipiracy legislation, after a storm of protest and a defection of a number of supporters made it doubtful that he had the votes to get the bill to the floor.Reid had stood firm on plans to hold a procedural vote on the PROTECT IP Act on Tuesday, but announced today that more time was needed to work out a compromise.Reid said in a statement, "I admire the work that Chairman Leahy has put into this bill. I encourage him to continue engaging with all stakeholders to forge a balance between protecting Americans' intellectual property, and maintaining openness and innovation on the internet. We made good progress through the discussions we've held in recent days, and I am optimistic that we can reach a compromise in the coming weeks."In the House, Judiciary Committee chairman Lamar Smith (R-Texas) said that the committee would postpone consideration of the Stop Online Piracy Act until there is wider agreement on a solution."The committee will continue work with both copyright owners and Internet companies to develop proposals that combat online piracy and protect America's intellectual property," Smith said. "We welcome input from all organizations and individuals who have an honest difference of opinion about how to address this widespread problem."He said that after hearing from critics, "It is clear that we need to revisit the approach on how best to address the problem of foreign thieves that steal and sell American inventions and products."One of the chief critics of the legislation in the House, Rep. Darrell Issa (R-Calif.), has introduced alternative legislation on which content owners could file complaints with the International Trade Commission to take steps to choke off support of sites that traffic in infringing content. But supporters of SOPA and PROTECT IP say that the proposal would expand the bureaucracy and that the remedy for fighting piracy would not be effective.The response from Rupert Murdoch, via Twitter: "Mega loads! One week earlier and things would be different. Even some solons may have recovered their courage."Leahy said that he hopes "other members of Congress won't simply stand on hollow promises to find a way to eliminate online theft by foreign rogue websites, and will instead work with me to send a bill to the President's desk this year."But Leahy, perhaps the most visible champion of the legislation in Congress, had hoped that despite the online protest this week the Senate could have a vigorous floor debate on Tuesday.He added that the "day will come when the Senators who forced this move will look back and realize they made a knee-jerk reaction to a monumental problem. Somewhere in China today, in Russia today, and in many other countries that do not respect American intellectual property, criminals who do nothing but peddle in counterfeit products and stolen American content are smugly watching how the United States Senate decided it was not even worth debating how to stop the overseas criminals from draining our economy." Contact Ted Johnson at ted.johnson@variety.com

Ashley Judd Goes From Harvard to Swimming inside the Seine

After punching the books at Harvard College, Ashley Judd is experiencing finding her acting muscles again.Peak activist (she's campaigned for women's rights, animal rights, Helps awareness) acquired amasters degree in public areas administration at Harvard's Kennedy School of Government this season.In "Missing," she plays a CIA operative extended outdated who's expected to find her spy capabilities when her boy will get lost while at school in Italia. The ABC drama, which bows March 15 at 8 p.m., is shot on location in the succession of European urban centers (Paris, Budapest, Prague) as Judd's CIA operative tracks individuals who needed her boy."I were living a very sedentary existence [at Harvard]," she states. "I basically sitting lower for just two-and-a-half many didn't awaken.InchNow she's doing nearly all her stunts, including jumping to the Seine in Paris."Clearly we should have stunt doubles," she states. "However do nearly all my own, personal stunts. After I am on that bridge in Paris and i'm shot which i come under the Seine, I really did that."She states she practiced yoga and labored with reliable trainers to have the ability to get healthy.InchShe really was quite heroic," states series creator Greg Poirier. "We put her through all sots of horrible things. And he or she managed to get happen with great aplomb.""I enjoy fight," adds Judd. "I have thought it was rewarding.""Missing" is Judd's first TV series just like a headliner (she came out round the 1990's drama "Brothers and sisters") carrying out a career largely round the silver screen. And he or she mentioned it absolutely was the material as well as the show's modest episode order (the initial several weeks are ten episodes, while potential subsequent seasons would not be any longer 13 episodes) that attracted her for the project."Clearly I used to be conscious of this is often a golden ages of television," she states. "The once impermeable membrane between TV stars and film stars is [disappearing]. From the initiating 'The Large C,' the demonstrate that I like, to determine Liam Neeson.""Each episode is great Tv in the glorious European capital," she adds. "What's not to like?""Missing," whichskipped the pilot process and was bought to series, is very serialized, a genre that might be hard to sustain.Nevertheless the showrunners guaranteed the ultimate episode will give you a payback round the central story, though they stopped missing proclaiming that Judd's character will definitely find her boy and offered handful of clues about how precisely a potential second season would participate in.InchI recieve as annoyed as anybody with one with suggests that [don't pay off]," mentioned Poirier, who may have been talking about AMC's "The Killing." "This story will close by the conclusion of the year. So when you watch prior to the finish of the year you'll feel satisfied. In my opinion we really put lower not to offer you among people disappointments just like you achieve the conclusion of some [shows]." The Hollywood Reporter

PGA unwraps film, TV noms

'The Artist''Hugo''The Girl using the Dragon Tattoo''The Help'Opting mostly for mainstream studio game titles, the Producers Guild of America has drawn on 10 nominees because of its top feature award -- "The Artist," "Bridesmaids," "The Descendants," "The Lady using the Dragon Tattoo," "The Assistance,Inch "Hugo," "The Ides of March," "Night time in Paris," "Moneyball," and "War Equine." The PGA, which introduced the noms because of its Daryl F. Zanuck award Tuesday morning, will disclose the champion Jan. 21 at its honours gala in the Beverly Hilton. The PGA list comprised largely of honours season management and contained merely a couple of mild surprises in "Bridesmaids" "The Lady using the Dragon Tattoo" and "Ides of March." From the PGA nominees, only "The Lady with Dragon Tattoo" wasn't named recently like a Golden Globes feature nominee. Notable PGA exclusions incorporated "50/50," "Drive," "Very Noisy & Incredibly Close," "J. Edgar," "Harry Potter and also the Deathly Hallows: Part 2," "My Week with Marilyn," "Super 8," "Mess, Tailor, Soldier, Spy" and "The Tree of Existence." "50/50" and "My Week with Marilyn receieved Golden Globe" nods. Casts of "The Artist," "Bridesmaids," "The Descendants," "The AssistanceInch and "Night time in Paris" received SAG ensemble nominations recently. Uni's "Bridesmaids" and Disney/DreamWorks' "The AssistanceInch would be the greatest box office achievements from the 10 PGA nominees with $169 million each in domestic grosses then Sony's "Moneyball" at $74 million. The Weinstein Co.'s "The Artist" is undoubtedly the littlest domestic grosser at $5 million as the next littlest are Fox Searchlight's "The Descendants" and Sony's "Ides of March" at $40 million each. The PGA made the decision in This summer to stay with 10 nominees because of its top feature award instead of following a modified voting methods from the Academy of movement Picture Arts & Sciences, which modified its voting in June to some system that will lead to between five and ten best picture nominees every year. Oscar noms is going to be introduced Jan. 24. The producers branch of AMPAS has 8Percent from the voting membership with 450 people from 5,783. Producer Letty Aronson, nominated for Woodsy Allen's "Night time in Paris," told Variety the pic most likely resonated with PGA voters because of the universality of their theme and it is $18 million budget. "I believe the PGA voters were impressed using the whole concept of getting a better some time and place, the industry fantasy that everybody has," added Aronson, who's Allen sister and longtime producer. "And that we succeeded on the minor budget." A maximum of 24 producers were drawn on as PGA nominees: Thomas Langmann for "The Artist" Judd Apatow, Craig Mendel and Clayton Townsend for "Bridesmaids" Jim Burke, Alexander Payne and Jim Taylor for "The Descendants" Cean Chaffin, Scott Rudin for "The Lady using the Dragon Tattoo" Michael Barnathan, Chris Columbus and Brunson Eco-friendly for "The AssistanceInch Graham King and Martin Scorsese for "Hugo" George Clooney, Grant Heslov and John Oliver for "Ides" Letty Aronson and Stephen Tenenbaum for "Night time in Paris" Michael P Luca, Rachael Horovitz and Kaira Pitt for "Moneyball" and Kathleen Kennedy and Steven Spielberg for "War Equine." "That one means a great deal to us," Heslov stated. "To obtain identified by other producers to have an adult drama having a 12.5 billion dollar budget, which was really only a labor of affection, it is simply terrific."Horovitz, who started focusing on "Moneyball" nine years back, stated, "It is a miracle when something works out in addition to you wished it might.InchIn the past, about 80% of PGA nominations also get an Oscar nom for the best picture. Last year's list matched up on nine from the 10 nods using the PGA using the only divergence around the PGA choosing for "The CityInch while AMPAS opted for "Winter's Bone."15 from the 22 PGA those who win go onto win the Oscar for the best picture and also have matched up during the last 4 years with "The King's Speech," "The Hurt Locker," "Slumdog Uniform" and "No Country for Old Males." Last year's PGA victory by "The King's Speech" symbolized something of the level within the honours season, which in fact had seen "The Social Networking" carry a lot of the momentum at that time. The PGA champion last diverged in the Oscar Best Picture for that 2006 award when "Little Miss Sunshine" won as the AMPAS elected for "The Departed." It is the third year where the PGA, that has over 4,750 people, has selected 10 films as challengers, in following a lead from the Academy to grow the area from five slots. Both orgs make use of a preferential voting system for his or her best picture award. The PGA's choices of accredited producers happen to be utilized by AMPAS within the last 4 years as recommendations in identifying the nominated producers within the Oscar best picture category, however the Academy has enforced a restriction since 1998 of three nominated producers per film -- even though it did exceed that in 2008 when four producers were incorporated for "The Readers" as well as in 2010 for "The Hurt Locker." Spielberg and Kennedy received another PGA jerk on Tuesday within the animated category for "The Adventures of Tintin" together with the producers of "Cars 2," "Kung Fu Panda 2," "Puss in Boots" and "Rango." "Toy Story 3" won the award this past year. The nominees in longform TV incorporated a trio of Cinemax game titles -- "Cinema Verite," "Mildred Pierce" and "Too Large to Fail" -- together with "Downton Abbey" and "The Kennedys." And Also The NOMINEES ARE:Darryl F. Zanuck Producer of the season Award in Theatrical Movies:"The Artist" - Producer: Thomas Langmann"Bridesmaids" - Producers: Judd Apatow, Craig Mendel, Clayton Townsend"The Descendants" - Producers: Jim Burke, Alexander Payne, Jim Taylor"The Lady Using the Dragon Tattoo" - Producers: Cen Chaffin, Scott Rudin"The AssistanceInch - Producers: Michael Barnathan, Chris Columbus, Brunson Eco-friendly"Hugo" - Producers: Graham King, Martin Scorsese"The Ides of March" - Producers: George Clooney, Grant Heslov, John Oliver"Night time in Paris" - Producers: Letty Aronson, Stephen Tenenbaum"Moneyball" - Producers: Michael P Luca, Rachael Horovitz, Kaira Pitt"War Equine" - Producers: Kathleen Kennedy, Steven SpielbergThe Producers Guild of America Producer of the season Award in Animated Theatrical Movies:"The Adventures of Tintin" - Producers: Healing For Peter Jackson, Kathleen Kennedy, Steven Spielberg"Cars 2" - Producer: Denise Ream"Kung Fu Panda 2" - Producer: Melissa Cobb"Puss in Boots" - Producers: Joe M. Aguilar, Latifa Ouaou"Rango" - Producers: John B. Carls, Gore VerbinskiThe David L. Wolper Producer of the season Award in Lengthy-Form Television:"Cinema Verite" (Cinemax) - Producers: Zanne Devine, Karyn McCarthy"Downton Abbey" (Masterpiece) (PBS) - Producers: Julian Fellowes, Nigel Marchant, Gareth Neame"The Kennedys" (ReelzChannel) - Producers: Jon Cassar, Jonathan Koch, Stephen Kronish, Steve Michaels, Michael Prupas, Jamie Paul Rock, Joel Surnow"Mildred Pierce" (Cinemax) - Producers: Todd Haynes, Pamela Koffler, Ilene S. Landress, Christine Vachon"Too Large To Fail" (Cinemax) - Producers: Carol Fenelon, Jeffrey Levine, Paula WeinsteinThe Producers Guild of America Producer of the season Award in Documentary Theatrical Movies:"Beats, Rhymes & Existence: The Travels Of The Tribe Known as Mission" - Producers: Michael Rapaport, Edward Parks (*additional producers qualifications pending arbitration completion)"Bill Cunningham NY" - Producer: Philip Gefter"Project Nim" - Producer: Simon Chinn "Senna" - Producer: James Gay-Rees"The Union" - Producers: Cameron Crowe, Michelle PanekThe Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:"30 Rock" (NBC) - Producers: Robert Carlock, Tina Fey, Marci Klein, Jerry Kupfer, Lorne Michaels, David Miner, Shaun Richmond, John Riggi, Don Scardino"The Large Bang Theory" (CBS) - Producers: Chuck Lorre, Steve Molaro, Faye Oshima, Bill Prady"Glee" (FOX) - Producers: Ian Brennan, Dante Di Loreto, Kaira Falchuk, Ryan Murphy, Kenneth Silverstein"Modern Family" (ABC) - Producers: Paul Corrigan, Abraham Higginbotham, Steven Levitan, Christopher Lloyd, Shaun Morton, Jeffrey Richman, Serta O'Shannon, Kaira Walsh, Bill Wrubel, Danny Zuker"Parks and Entertainment" (NBC) - Producers: Greg Daniels, Serta Goor, Howard Klein, Amy Poehler, Morgan Sackett, Michael SchurThe Norman Felton Award for Outstanding Producer of Episodic Television, Drama:"Boardwalk Empire" (Cinemax) - Producers: Eugene Kelly, Howard Korder, Stephen Levinson, Martin Scorsese, Rudd Simmons, Tim Van Patten, Terence Winter"Dexter" (Showtime) - Producers: Sara Colleton, John Goldwyn, Nick Johannessen, Robert Lloyd Lewis"Bet on Thrones" (Cinemax) - Producers: David Benioff, Frank Doelger, Mark Huffam, Carolyn Strauss, D.B. Weiss"The Great Wife" (CBS) - Producers: Brooke Kennedy, Michelle King, Robert King, Ridley Scott, Tony Scott, David W. Zucker"Mad Males" (AMC) - Producers: Jonathan Abrahams, Scott Hornbacher, Andre Jacquemetton, Maria Jacquemetton, Blake McCormick, Dwayne Shattuck, Dahvi Waller, Matthew WeinerThe Award for Outstanding Producer of Live Entertainment & Talk Television: "The Colbert Report" (Comedy Central) - Producers: Meredith Bennett, Stephen T. Colbert, Richard Dahm, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart (*additional producers qualifications pending arbitration completion)"The Ellen DeGeneres Show" (Syndicated) - Producers: Mary Connelly, Ellen DeGeneres, Melissa Geiger Schrift, Erectile dysfunction Glavin, Andy Lassner, Kevin A. Leman II, Jonathan Norman, Derek Westervelt"Real-time with Bill Maher" (Cinemax) - Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin"Saturday Evening Live" (NBC) - Producers: Ken Aymong, Steve Higgins, Erik Kenward, Lorne Michaels, John Mulaney"The 64th Annual Tony Honours" (CBS) - Producers: Ough Kirshner, Glenn WeissThe Award for Outstanding Producer of Competition Television:"The Astonishing Race" (CBS) - Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo"The American Idol ShowInch (FOX) - Producers: Charles Boyd, Cecile Frot-Coutaz, Simon Larger, Patrick Lynn, Nigel Lythgoe, Megan Michaels, Ken Warwick"DwtsInch (ABC) - Producers: Ashley Edens Shaffer, Conrad Eco-friendly, Joe Sungkur, Take advantage of Wade"Project Runway" (Lifetime) - Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands"Top Chef" (Bravo) - Producers: Daniel Cutforth, Casey Kriley, Jane Lipsitz, Serta Murphy, Nan Strait The Award for Outstanding Producer of Non-Fiction Television:"30 for 30" (ESPN) - Producers: John Dahl, Connor Schell, Bill Simmons"American Masters" (PBS) - Producers: Susan Lacy, Julie Sacks"Anthony Bourdain: No Bookings" (Travel Funnel) - Producers: Christopher Collins, Julie Lei, Lydia Tenaglia, Tom Vitale"Most harmful Catch" (Discovery Funnel) - Producers: Thom Ales, Shaun Conroy, John Grey, Sheila McCormack, Ethan Prochnik, Bill Pruitt, Matt Renner"Undercover Boss" (CBS) - Producers: Chris Carlson, Susan Hoenig, Eli Holzman, Sandi Manley, Stephen Lambert, Allison SchermerhornNews Programs:"Physical Violence Worsens 360" (CNN)"BBC World News America" (BBC)"NBC News with John Williams" (NBC)"The Rachel Maddow Show" (MSNBC)"an hourInch (CBS)Sports Programs: (*There is a tie, and that's why you will find six nominees.)"Monday Evening Football" (ESPN)"Real Sports with Bryant Gumbel" (Cinemax)"Sports Center" (ESPN)"30 for 30" (ESPN)"2010 FIFA World Cup" (ABC / ESPN / ESPN2)"U.S. Open Tennis Championship" (CBS / ESPN2 / Tennis Funnel)Children's Programs:"Dora the Explorer" (Nickelodeon)"iCarly" (Nickelodeon)"Phineas and Ferb" (Disney Funnel)"Sesame Street" (PBS)"SpongeBob Squarepants" (Nickelodeon)Web Series:"Request a Ninja" (blip.tv)"The Guild" (WatchTheGuild.com)"Parks and Entertainment Presents: 'April & Andy's Road Trip'" (NBC.com)"30 Rock Presents Jack Donaghy, Executive Super hero" (NBC.com)"Web Therapy" (LStudio.com) Contact Dork McNary at dork.mcnary@variety.com

Olivia Colman Takes New Steps in 'Tyrannosaur'

How does an actor with well-established comedic chops turn in a shattering performance in one of the year's darkest, most disturbing films? Olivia Colman says she did it in "Tyrannosaur" by doing what's real for her characterwith the help of a pitch-perfect script. "I didn't go anywhere different for it," Colman says. "You just go to where you need to go to do her justice." Her work in this film by writer-director Paddy Considine was dubbed the breakout performance at the 2011 Sundance Film Festival.One more breakout is coming her way, however. She more than holds our attention as Margaret Thatcher's daughter, Carol, opposite Meryl Streep in "The Iron Lady."But in "Tyrannosaur," Colman plays Hannah, a Christian woman who works in a thrift shop and who holds out a literal and figurative hand to the damaged, raging Joseph (Peter Mullan). Yet Hannah bears her own scars, caused in large part by her marriage to the monstrous James (Eddie Marsan). The film began life as Considine's short; in the feature film he expands Hannah's role to show her background and develop her relationship with Joseph.Back Stage: How did you meet Paddy Considine, and how did he cast you in this project?Olivia Colman: We met on a film called "Hot Fuzz." We met the first day of our rehearsals. I knew Paddy was coming, and I was so excited to meet Paddy Considine. And he came up the stairs, and I opened the door for him, and he said, "After you," and I went, "Oh, no, no, after you." And he says that at that point he thought, "Oh, right, she's the one for my short film." I'm so pleased I held the door open for him.Back Stage: How much time did you have to prepare your character for the short?Colman: I didn't. I read the script, but then I had to fly to Glasgow and do my scenes just in one day, because I was in the middle of a job. The short went down very well. It won a BAFTA for best short. After that, people were saying, "I want to know what happens with these characters." And then it was just about four years between the short and the feature. Back Stage: If there was no back story for Hannah, did you make one up for her?Colman: Everything was on the page. She worked in this charity shop; she was the only person who extended a hand of friendship to this man who most people would have walked to the other side of the street away from. I didn't need to know an awful lot more about that. I know lots of actors might disagree with me, but to me I just did what was on the page. She was a lovely, warm person. And when you come to the feature, she just shows herself as a lovely, warm person. She doesn't show what's going on, anyway, in her back story. It's unveiled during the course of the film. But I think it's right that she doesn't show everybody, and that's what's more interesting. And the whole film is about challenging perceptions: You make snap decisions, snap judgments about people, and you're invariably wrong. Looking at the film after you've witnessed what Joseph's done, you can't believe you can feel so differently. But I don't think you need to demonstrate everything, because that's not what people do. They keep their secrets, and they keep them well.Back Stage: Any other research?Colman: I went to this charity called Refuge, in the U.K., which tries to help victims of domestic violence. I talked to women who work for the charitynot to any of the women, or men, they helpbecause I couldn't promise I wouldn't cry. So they gave me a case study to look at, which was so shockinga hundred times worse than anything you saw onscreenand that was enough. I'll never get rid of that now, the horrible images from that. That was enough to inform what I thought Hannah was.Back Stage: What was Paddy's set like? Formal? Funny?Colman: Informal and very, very safe, very friendly. They're all funny people: Paddy, Eddie, and Peter. All lovely, warm people who tell funny stories and joke with each other. Also the crew. When you're feeling exposed when you're doing something, you don't want to hear someone giggling 'cause they're doing a private joke over there. No one did that [on this film]. Everyone was completely committed.Back Stage: What kind of rehearsals did you have?Colman: We had one day that had been put aside, before we started the shoot. Paddy and Peter and I sitting. But it ended up we didn't really talk about the piece at all. We ended up going to the pub and having a drink. The characters were already so whole, so multifaceted, so complete on the page, I didn't want to talk about it. It feels like you're taking the lid off the pressure cooker. If I can feel it, it's all there; please don't make me say it before we have to do it. I told Paddy, "I'm really nervous about rehearsing for this; I don't want to." And he felt the same. Because I felt it so deeply, I would be sobbing during a rehearsal. He said, "No, don't say a word. Roughly when you get to that point, where do you think you might go? [The camera will] just follow you and make sure we get it." That was lovely. It was liberating. Back Stage: What did you learn about acting while working on this film?Colman: There's a certain feeling I have a bit more now, which is I do deserve to be here. I always thought, "I'm going to be found out." I couldn't have done "Iron Lady" three years ago. I did "Iron Lady" three years after this, and I thought, "It's all right; I can hold my own," after Paddy giving me confidence like that.Back Stage: What did you learn watching Streep?Colman: She has a very strong work ethic. There is no ego; there's no vanity; there's no place for that. That's why she is so extraordinarily good at what she does. I don't want to? see the working behind a performance. To be; that's it. And to feel it. And laying on extra stuffI don't enjoy watching that. She takes what she needs to, to make that person real. People would have paid to sit there and watch her in the flesh doing it. And she was amazing, and you completely forgot that underneath the prosthetics she looked different. She became the person.Back Stage: In "Tyrannosaur," what was the most difficult scene for you?Colman: The one I was always terrified of, from the moment I got the script, was Hannah's breakdown. I was scared of doing it justice. I didn't want to let Paddy down. And he shot us chronologically, which was brilliant. Because he's an actor, he knows how important that is. So the whole journey, you've already done it. It makes your job very easy. There was [another] scene which didn't make it to the final cut. I think we all felt it wasn't working. Paddy kept trying. And then I traveled home for the weekend. And Paddy called me and said, "We're going to reshoot that scene." And I was so upset that I hadn't done it right, I've let him down, he'd taken the gamble. And then he says, "It wasn't you. I was saying all the wrong things, and I was directing it wrong." Which is sweet of him.Back Stage: And the one scene you wouldn't mind reshooting?Colman: The scenes I found hardest were the scenes that were re-creating the short. It was weirdit was like an echo. We did it four years previously, and I was trying to make it? fresh again now, but I could still kind of hear my own voice. I found those the hardest, which is why I wouldn't want to shoot them again, 'cause it would just get worse.Back Stage: What was your worst audition ever?Colman: It was for the Donmar [Warehouse, in London]. I was going to be meeting [casting director and creative associate] Anne McNulty, and I was so excited. Quite early on [in my career]. Wanted to be taken on by my agent. And the script had a lot of mention of camera shot things. And it was for the part of a whore. So I had a short skirt and tried to look as whorish as I couldor as I could bear. Got there, took my coat off, and she looked at me and said, "What do you think of the script?" And I said, "Oh, it's good." And she still looked puzzled. And then she said, "Should we have a little read?" And it wasn't the script that I'd been sent. It was for the part of a nun. We did laugh about it, but it was humiliating. And I didn't get that part.Back Stage: That's because the casting director had no imagination. By Dany Margolies December 30, 2011 Peter Mullan and Olivia Colman. PHOTO CREDIT Dave J. Hogan/Getty Images How does an actor with well-established comedic chops turn in a shattering performance in one of the year's darkest, most disturbing films? Olivia Colman says she did it in "Tyrannosaur" by doing what's real for her characterwith the help of a pitch-perfect script. "I didn't go anywhere different for it," Colman says. "You just go to where you need to go to do her justice." Her work in this film by writer-director Paddy Considine was dubbed the breakout performance at the 2011 Sundance Film Festival.One more breakout is coming her way, however. She more than holds our attention as Margaret Thatcher's daughter, Carol, opposite Meryl Streep in "The Iron Lady."But in "Tyrannosaur," Colman plays Hannah, a Christian woman who works in a thrift shop and who holds out a literal and figurative hand to the damaged, raging Joseph (Peter Mullan). Yet Hannah bears her own scars, caused in large part by her marriage to the monstrous James (Eddie Marsan). The film began life as Considine's short; in the feature film he expands Hannah's role to show her background and develop her relationship with Joseph.Back Stage: How did you meet Paddy Considine, and how did he cast you in this project?Olivia Colman: We met on a film called "Hot Fuzz." We met the first day of our rehearsals. I knew Paddy was coming, and I was so excited to meet Paddy Considine. And he came up the stairs, and I opened the door for him, and he said, "After you," and I went, "Oh, no, no, after you." And he says that at that point he thought, "Oh, right, she's the one for my short film." I'm so pleased I held the door open for him.Back Stage: How much time did you have to prepare your character for the short?Colman: I didn't. I read the script, but then I had to fly to Glasgow and do my scenes just in one day, because I was in the middle of a job. The short went down very well. It won a BAFTA for best short. After that, people were saying, "I want to know what happens with these characters." And then it was just about four years between the short and the feature. Back Stage: If there was no back story for Hannah, did you make one up for her?Colman: Everything was on the page. She worked in this charity shop; she was the only person who extended a hand of friendship to this man who most people would have walked to the other side of the street away from. I didn't need to know an awful lot more about that. I know lots of actors might disagree with me, but to me I just did what was on the page. She was a lovely, warm person. And when you come to the feature, she just shows herself as a lovely, warm person. She doesn't show what's going on, anyway, in her back story. It's unveiled during the course of the film. But I think it's right that she doesn't show everybody, and that's what's more interesting. And the whole film is about challenging perceptions: You make snap decisions, snap judgments about people, and you're invariably wrong. Looking at the film after you've witnessed what Joseph's done, you can't believe you can feel so differently. But I don't think you need to demonstrate everything, because that's not what people do. They keep their secrets, and they keep them well.Back Stage: Any other research?Colman: I went to this charity called Refuge, in the U.K., which tries to help victims of domestic violence. I talked to women who work for the charitynot to any of the women, or men, they helpbecause I couldn't promise I wouldn't cry. So they gave me a case study to look at, which was so shockinga hundred times worse than anything you saw onscreenand that was enough. I'll never get rid of that now, the horrible images from that. That was enough to inform what I thought Hannah was.Back Stage: What was Paddy's set like? Formal? Funny?Colman: Informal and very, very safe, very friendly. They're all funny people: Paddy, Eddie, and Peter. All lovely, warm people who tell funny stories and joke with each other. Also the crew. When you're feeling exposed when you're doing something, you don't want to hear someone giggling 'cause they're doing a private joke over there. No one did that [on this film]. Everyone was completely committed.Back Stage: What kind of rehearsals did you have?Colman: We had one day that had been put aside, before we started the shoot. Paddy and Peter and I sitting. But it ended up we didn't really talk about the piece at all. We ended up going to the pub and having a drink. The characters were already so whole, so multifaceted, so complete on the page, I didn't want to talk about it. It feels like you're taking the lid off the pressure cooker. If I can feel it, it's all there; please don't make me say it before we have to do it. I told Paddy, "I'm really nervous about rehearsing for this; I don't want to." And he felt the same. Because I felt it so deeply, I would be sobbing during a rehearsal. He said, "No, don't say a word. Roughly when you get to that point, where do you think you might go? [The camera will] just follow you and make sure we get it." That was lovely. It was liberating. Back Stage: What did you learn about acting while working on this film?Colman: There's a certain feeling I have a bit more now, which is I do deserve to be here. I always thought, "I'm going to be found out." I couldn't have done "Iron Lady" three years ago. I did "Iron Lady" three years after this, and I thought, "It's all right; I can hold my own," after Paddy giving me confidence like that.Back Stage: What did you learn watching Streep?Colman: She has a very strong work ethic. There is no ego; there's no vanity; there's no place for that. That's why she is so extraordinarily good at what she does. I don't want to? see the working behind a performance. To be; that's it. And to feel it. And laying on extra stuffI don't enjoy watching that. She takes what she needs to, to make that person real. People would have paid to sit there and watch her in the flesh doing it. And she was amazing, and you completely forgot that underneath the prosthetics she looked different. She became the person.Back Stage: In "Tyrannosaur," what was the most difficult scene for you?Colman: The one I was always terrified of, from the moment I got the script, was Hannah's breakdown. I was scared of doing it justice. I didn't want to let Paddy down. And he shot us chronologically, which was brilliant. Because he's an actor, he knows how important that is. So the whole journey, you've already done it. It makes your job very easy. There was [another] scene which didn't make it to the final cut. I think we all felt it wasn't working. Paddy kept trying. And then I traveled home for the weekend. And Paddy called me and said, "We're going to reshoot that scene." And I was so upset that I hadn't done it right, I've let him down, he'd taken the gamble. And then he says, "It wasn't you. I was saying all the wrong things, and I was directing it wrong." Which is sweet of him.Back Stage: And the one scene you wouldn't mind reshooting?Colman: The scenes I found hardest were the scenes that were re-creating the short. It was weirdit was like an echo. We did it four years previously, and I was trying to make it? fresh again now, but I could still kind of hear my own voice. I found those the hardest, which is why I wouldn't want to shoot them again, 'cause it would just get worse.Back Stage: What was your worst audition ever?Colman: It was for the Donmar [Warehouse, in London]. I was going to be meeting [casting director and creative associate] Anne McNulty, and I was so excited. Quite early on [in my career]. Wanted to be taken on by my agent. And the script had a lot of mention of camera shot things. And it was for the part of a whore. So I had a short skirt and tried to look as whorish as I couldor as I could bear. Got there, took my coat off, and she looked at me and said, "What do you think of the script?" And I said, "Oh, it's good." And she still looked puzzled. And then she said, "Should we have a little read?" And it wasn't the script that I'd been sent. It was for the part of a nun. We did laugh about it, but it was humiliating. And I didn't get that part.Back Stage: That's because the casting director had no imagination.

Fashion Slam: The Entire Year In Fashion

First Released: December 28, 2011 11:57 AM EST Credit: Getty Images La, Calif. -- Caption Kate Middleton waves as she heads in to the Abbey to got married, London, April 29, 2011As we summary 2011, we glance back in a couple of from the years large fashion moments and trends. The Gown Yeah, that certain which had Everybody on the planet watchingwhen Kate Middleton married Prince William in April. Collective gasp. Utter Perfection. Congratulations, Kate, congratulations. FASCINATORS The hats so loved through the British grew to become a family group title within the Statesmost people had not heard about a fascinator before. Princess Beatrices over-the-top hat grew to become a late evening joke or even a popular Costume. She got the final laugh though auctioning from the hat for charitable organisation. MISSONI MANIA A lot of fashion-loving folks (including this writer) were crazy in love with the Missoni for Target line the chains website crashed on September 13. Down All of us demonstrated our bohemian side with the addition of down to the hair. The women inside my kids pre-school like this, its that large of the trend. RETRO STYLE Basic steps Pan Am and NBCs The Playboy Club both displayed 60s style and made it happen well. COLORED Jeans Red-colored jeans were among the greatest trends this season. Royal blue and Kelly eco-friendly were other large colors and that we saw stars putting on from deep crimson to vibrant yellow. Joes Jeans even introduced its 55 colors assortment of yep an astonishing 55 colors from the rainbow. Copyright 2011 by NBC Universal, Corporation. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Pat Robertson to SNL: Leave Tim Tebow Alone!

Saturday Evening Live Pat Robertson's latest target? Saturday Evening Live. The televangelist railed against a skit mocking Colorado Broncos' quarterback Tim Tebow, an empty and devout Christian, calling it "anti-Christian bigotry." Inside the sketch, Jason Sudeikis came out as Jesus and told Tebow to pay attention to his game and ease around the praise. The breakout stars of 2011 "When the happen to be a Muslim country and so they attempted that, combined with Muhammad doing that stuff, you'd have found tanks being thrown off!" Robertson mentioned round the Christian Broadcasting Network. "Tebow is certainly a good example, but he is a superb individual,Inch Robertson mentioned. "We would like more religious belief in present day world. We're losing our moral compass inside our nation which guy remains put in a unique position which i applaud him. God bless him." Watch Robertson slam SNL, because of Mediaite: As well as the original sketch: