Iron Guy 3 To Shoot In NC

First Launched: October 27, 2011 5:28 PM EDT Credit: Caption Robert Downey Junior. in Iron Guy 2 WILMINGTON, N.C. -- The next installment inside the Iron Guy superhero film franchise will shoot in the New You are able to soundstage beginning in a few days. Marvel Art galleries will film Iron Guy 3 starring Robert Downey Junior. in Wilmington, with pre-production beginning soon and be employed in the problem lasting about 10 several days, Gov. Beverly Perdue and Wilmingtons EUE/Screen Gems Art galleries mentioned Thursday. The expansion is predicted to create 550 jobs for trades-people, specialists together with other crew people and many 1,000 spots for stars together with other talent. This is actually the greatest production to shoot in New You are able to, condition film office mind Aaron Syrett mentioned. The last films inside the series, with various Marvel Comics character, featured Downey just like a billionaire weapons-maker who fights crooks wearing a greater-tech suit of armor he created. Iron Guy 2 co-starred Gwyneth Paltrow, Scarlett Johansson, Don Cheadle and Samuel L. Jackson. Professionals at Marvel Art galleries also considered locations in La, Michigan and New Mexico before identifying Wilmington had the very best combination of space, talent, and citizen incentives, EUE/Screen Gems mentioned. New You are able to this year elevated its rules for movie and tv productions up to twenty five percent. Meaning movie producers could discount over a quarter of the in-condition trading around $20 million utilizing their condition taxes. The tax break is refundable, meaning a producer who qualified for just about any $20 million write-off but didnt owe much in New You are able to taxes could collect the primary difference getting a multi-million-dollar check from people. The incentive has aided make 2011 a sizable year for your states film industry. Twenty-nine productions had setup offices in New You are able to by early September, trading greater than $200 million and no less than temporarily employing 3,000 crew people, Perdues office mentioned. Time productions are the feature film The Hunger Games as well as the television series Homeland, 'Eastbound minimizing then one Tree Hill. Copyright 2011 with the Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

NBC Sports leaving New York

After more than 60 years, NBC Sports group is leaving NY City for Connecticut. The net will retain some space in its longtime home at Rockefeller Center, but the majority of its operations will move to the new Stamford offices, where the governor's office announced that the org would bring some 450 jobs and would in turn receive tax credits. The net is also reportedly receiving a loan of $20 million. Comcast Sports Management group, which runs 22 regional nets, is moving to Connecticut, as well, when construction at the new campus (a former Clairol factory) is completed sometime in 2013. Cable net Versus, NBC Olympics and NBC Sports Digital will be among the divisions housed at the facility. Staying behind will be NBC's Sunday night NFL pre-game show "Football Night in America" and salespeople working with the Madison Avenue-based industry. Contact Sam Thielman at sam.thielman@variety.com

'The Avengers' Wasn't Shot by having an apple apple iphone

Very good news or not so great, according to your feelings about film technology: cinematographer Seamus McGarvey states he did not really shoot portions of 'The Avengers' on his apple apple iphone. "I used to be speaking about how precisely rising filmmakers obtain access to a whole choice of technology which expand our options as filmmakers," McGarvey told THR in regards to the interview he did with Irish Film and tv Network. "I stated the apple apple iphone as well as the Canon 5d Mk2 were items presently applied to many Hollywood productions. We used canon's on some shots on Marvel's 'The Avengers' movie. Sadly, it had been edited to determine what i shot a couple of from the film while using apple apple iphone. This is not true." McGarvey was reported with the publication as saying he not only shot moments for your Joss Whedon-directed film on his smartphone, however the moments were inside the trailer. "On 'The Avengers,' Accustomed to perform a couple of shots round the apple apple iphone and they are inside the movie. Really, they are inside the trailer! I recognize that sometimes there is no choice plus you've got to find the least costly option, however when you are limited for choice, you'll be able to still make poignant options that will effect the design of the film," IFTN apparently misquoted him as saying. Disney also confirmed that none of 'The Avengers' was shot by having an apple apple iphone. Alas. Fingers joined that Whedon's double secret probation project was? [via THR/Warmth Vision] [Photo: Vital] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

Happy 64th Birthday, Kevin Kline! What's His Best Onscreen Moment?

This is a special Monday, dears, because the illustrious Kevin Kline turns 64 today. The man who lit up The Big Chill before going on to garner an Academy Award for A Fish Called Wanda is that rare leading man who seems perfectly at home in bizarre character roles. I’m trembling just thinking of my favorite Kevin Kline scene. Can you guess it? Will I be plundering The Ice Storm? In & Out? Dave? Or the gritty saloon drama Wild, Wild West? I’m always a little bothered by the general perception of Sophie’s Choice — that the movie fixates on Meryl Streep’s role and all other characters barely matter or only serve to build her arc. While I don’t want to detract from Streep’s truly incredible work, I do want to point out that Sophie’s Choice gives us three amazing characters, and Kevin Kline’s Nathan Landau is one of them. In his debut role, Kline plays Sophie’s hotheaded, deliriously unstable lover who vacillates from romantic to manic without warning. He is scary, and though we’ll gawp in astonishment at the source of Sophie’s vague hopelessness later in the film, Kline’s furor is a highlight of the movie’s first half. Here, he taunts Sophie by bringing up the devastating circumstances she survived. And hey, don’t let anyone tell you that Peter MacNicol isn’t phenomenal here too. His character Stingo is one of the great, heartbreakingly human protagonists in modern cinema.

'Twilight' Star Is an International Spy in New Series 'Aim High'

Most high school boys are worried about homework and crushes. Nick Green, however, is worried about homework, crushes and his job as a secret government agent. In 'Aim High,' Jackson Rathbone (best known for his role as Jasper Hale in the 'Twilight' series) plays Green, a student who spends his free time experiencing the James Bond fantasy every boy has had at one point or another. Green is part of a team of 64 highly trained teenage assassins. So when he's not obsessing over Amanda Miles (Aimee Teegarden), the most popular girl in school, he's out fighting the bad guys and keeping the country safe. 'Aim High' will be broadcast on Moviefone's sister website Cambio. The show is being billed as the first ever "social series," offering a new twist on viewer participation. Those who sign in via Facebook can expect to see photos of themselves and their friends appear within the episodes. Adding some action cred to 'Aim High' is the show's producer McG ('Terminator Salvation' and 'Charlie's Angels' director), who is excited to get things going on this one-of-a-kind web show, pointing out that "it's competitive with anything you see on network television or a cable series." Head on over to Cambio to check out the first episode. [Photo: Warner Bros.] 'Aim High' Red Carpet See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook

Second Tintin Trailer Arrives

Bikes, motorboats, fire and sandwichesIt's barely a week since the first first showed, but here's another new trailer for that Adventures Of Tintin.That one appears to become for American audiences, who've to hang about until December for his or her slice of Spielberg/Herge action, in the end have it in a few days. '! Take that, Yankees!Trailer the second reason is not entirely different towards the first, it should be stated. But most importantly it's 1 minute longer, permitting for many much-broadened seafaring Snowy being distracted from some important work with a sandwich and Haddock determining it's wise to begin a fireplace... Inside A BOAT.The Adventures Of Tintin, you'll need no telling, stars Jamie Bell, Andy Serkis, Simon Pegg and Nick Frost in bleeding edge performance capture. It's directed by Steven Spielberg, created by Jackson, and compiled by Steven Moffat, Edgar Wright and Joe Cornish, according to Herge's The Crab Using The Golden Claws, The Key From The Unicorn, and Red-colored Rackham's Treasure.It's in the United kingdom on October 26, and you will read Empire's world-first Tintin review here.

How a Calligraphy Pen Rewrote Steve Jobs' Life

I know where Steve Jobs' inspiration came from, because I walked into the same place three months after he'd left in 1974: the calligraphy building at Reed College in Portland, Oregon. "My first impression was that all the other students really liked him," says Jobs' first calligraphy professor (and mine), Robert Palladino. "That surprised me, because there were all these geniuses floating around, and Steve was a dropout. But they detected greatness even then."our editor recommends Apple CEO Steve Jobs to Take Another Medical Leave of Absence'iGenius: How Steve Jobs Changed the World' Airs Sunday on Discovery PHOTOS: Steve Jobs' Death: How the Magazines Covered Jobs was a genius dropout with drive, so after his one 1972 semester as a paying student, he hung out at Reed for 18 months more, studying calligraphy as single-mindedly as a monk. Later, Jobs joined a Reed friend (and future Apple employee) to study like a monk in the Himalayas, barefoot, with shaved head and robes. But his first monastery was Reed's calligraphy room, run by Palladino, who'd been a Trappist monk for 18 years. PHOTOS: Apple Products in TV and Movies Silicon Valley's future most famous screamer studied with a monk who spent years taking a vow of silence. "Reed College at that time offered perhaps the best calligraphy instruction in the country," Jobs said when he gave Stanford's 2005 graduation speech. "Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed...I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture." Calligraphing like a monk gave Jobs an esthetic sense most math-nerd tech giants (like Bill Gates) lack. STORY: Private Steve Jobs Memorial Set for Oct. 16 "About two years later Steve came back to Reed to tell me he was working on computers out of his parents' garage," says Palladino, now a retired priest doing masses in English and Latin in Oregon. "He wanted to consult with me about my Greek letters." As Jobs told Stanford's graduates, "When we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it's likely that no personal computer would have them." STORY: Apple Shares Hit New High It wasn't just a calligraphic skill Jobs picked up at Reed. It was a mindset. At orientation, freshmen were told, "You're here to measure your mind against the person sitting next to you, and the greatest minds who ever lived." Reed's dropout, suicide, and grad-school admissions rates were sky-high. Social skills and gradepoint averages were low. At Stanford, any grade below a C was erased from students' records. At Reed, there was no gentleman's C, and you were expected to be too pure to even ask what your grades were. Your goal was perfection. It was all about questing individualism, original thinking, ruthless meritocracy. The school mascot was an image of burning ambition: a griffin blazing like the sun. "Steve had a flamethrower mind," says Tim Girvin, a calligrapher who started out on the Reed scene and went on to design logos for 400 films, from Apocalypse Now to The Adventures of Tintin, and also for Jobs, who invited him to work on a mouse-activated computer -- a "M.A.C." "Steve said, 'You have to come down to Apple, I have something I've got to show you.' I was amazed to be flown down to work on experiments in type design for this technology still wrapped in secrecy. I came in from the outside to work for him as a renegade, to think differently about how to approach that design. "The mouse, the cursor device, was contained in some kind of cardboard with wire coming out the end. 'Could you draw a logo for the Mac computer by hand with this cursor, on the computer itself?' he asked. I couldn't. The screen was tiny, the pixels large. So instead, by hand, I made drawings for the logo and of the computer, all done with a calligraphic brush tool." Jobs loved the result. Good thing he liked it. "If you were on his good side, it was always, what is the next tier of perfection? What's the next thing you could do that would be better? And if you were on the bad side, then you were gone. Steve had a real temper. There was yelling -- not tied with me. There was furniture kind of tossed around a room. He had a real focus, a path he was on, and you were either on the path and going there or you were not. People write about being terrorized by Steve Jobs, and I think it was because of that crazy passion and fire he had. He was wildly passionate about doing new amazing things." "Ethically, Steve was as nice a guy as you could meet," says Palladino, who never saw Jobs in his chair-throwing days. "A real nice fellow." Palladino's attempts to get back in touch with Jobs after fame struck were rebuffed by Apple, whose office responded with a silence stonier than any Trappist's. Since Jobs' death, Palladino has gotten calls from as far away as China, asking for insights into where Jobs' talent came from. Asked which actors should play Jobs and himself in the potential Sony movie adaptation of Walter Isaacson's Jobs bio (published Oct. 24), Palladino says, "I don't see many movies. I never saw a TV until I got out of the cloister." Jobs hired Girvin to do more designs many times over the years. "When he started NeXT [the computer company Jobs launched in 1985], he said, 'Can you brew up some kind of visual expression for how we tell the story of NeXT?' He said that brand was so corporate and disciplined, he needed to add some magical expressive power to that." To Steve Jobs, calligraphy was the magic that enlivens science. "Almost all of my correspondence with him was handwritten. That was part of our connection, the return to the hand." Girvin says the last time they were in contact, seven or eight years ago, Jobs was a changed man. "He became much more calm. In the beginning, he was so young, so passionate, so crazy, and so direct, it was a different kind of energy. I think he just became more serene in his character." "The day of Steve's death, I took my iPad and started drawing sketches about the Mac, starting exactly where I was with Steve 30 years ago," says Girvin. This time, he didn't need a calligraphy pen -- and the iPad is actually cheaper than the Pelikan pen that Palladino uses. "Now the iPad gives you the ability to take pictures and notes and drawings and ideas, and converge them in one space, seamlessly." At last, Girvin can do what Jobs asked him to do way back when (see drawing above). "It goes right back to the initial computer dream," says Girvin. "You can't connect the dots looking forward," Jobs told the Stanford grads. "You can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something - your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life." Related Topics Steve Jobs

Legendary Costume Designer Ray Aghayan, Longtime Partner of Bob Mackie, Dies at 83

Ray Aghayan, a 2-time Oscar nominee who won the very first Emmy Award for costume design, outfitted the glamorous Judy Garland, Barbra Streisand and Diana Ross and did the costumes for that frequent lowering and raising events from the 1984 Summer time Olympic games, died Tuesday in La. He was 83.Related Subjects•Obituaries Aghayan, the longtime partner of Bob Mackie, who began as his assistant, died of "unknown causes," the Archive of yankee Television stated Wednesday. Aghayan was instrumental in effective the Academy of Television Arts & Sciences to formally recognize the contribution of costume designers. With Mackie, he won the very first ever Emmy for costume design in 1967 for NBC's Alice With the Searching Glass. He continued to earn two more Emmys (among nine total nominations) and received work achievement award in the Costume Designers Guild in 2008. A local of Tehran, Iran, Aghayan was nominated for Academy awards for Norman Jewison's Vibrantly, Vibrantly (1969) with Mackie and Norma Koch for Lady Sings the Blues (1972) starring Ross as Billie Holliday and, again with Mackie, for Funny Lady (1975) starring Streisand. For Funny Lady, Aghayan and Mackie produced 40 complete nineteen thirties-style clothes -- not just dresses and suits, but the hats, mitts, jewelry and footwear -- for Streisand's Fanny Brice. The boy of the society couturier in Tehran, Aghayan at 14 designed the mourning clothes for that wife from the Shah of Iran, Full Fawzia. 3 years later, he convinced his mother to permit him to move by himself to La. After many years creating, pointing and creating costumes for their own productions, Aghayan got employment around the mid-nineteen fifties anthology series Matinee Theater (the live show needed a talent for quick costume changes). That brought to some stint as costume designer around the short-resided 1963-64 variety series The Judy Garland Show. Aghayan's film resume includes The skill of Love (1965), Our Guy Flint (1966), Dr. Doolittle (1967), Hannie Caulder (1971) with Raquel Welch and three Doris Day films: Don't Disturb (1965), The Glass Bottom Boat (1966) and Caprice (1967). Aghayan designed costumes for such stars asJulie Andrews,Fred Astaire,Gem Bailey,Lucille Ball,Diahann Carroll,Carol Channing,CydCharisse,Bing Crosby,SammyDavis,Dick Van Dyke,Barbara Eden,Lola Falana,Mitzi Gaynor,Betty Hutton,The Jackson Five,Danny Kaye,Peggy Lee,Shirley MacLaine,Dinah Shoreline andLeslie Uggams. He was nominated for any Tony Award in 1970 for Applause, and that he also designed on Broadway for Vintage 60 (which opened up in 1960), The Egg (1962), Around town (1971) and Channing's Lorelei (1974). Inside a 1997 interview using the Archive of yankee Television, Aghayan was requested why is a great costume design. One which "provides the actor the smoothness, helps the actor come to be that individual,Inch he stated. "And also to have the ability to assist the audience to check out might know what the heck it's they are searching at."Additionally to his focus on the La Olympic games, Aghayan created Consenting Adult, a landmark 1985 telefilm in regards to a gay boy being released to his family which was modified in the novel by Laura Z. Hobson. Younger crowd exceeded twelve Academy Award telecasts from 1968 to 2001. For that MGM Grand Hotel in Vegas in 1974, Aghayan and Mackie designed the outlet forHallelujah Hollywood, a $3 million tribute to classic MGM musicals that placed a fantastic 940 costumes. Related Subjects Obituaries

Craig Brewer on Remaking Footloose, How It's Like Purple Rain, and Tarzan

Craig Brewer knows that some of you are skeptical about his remake of Footloose, the 1984 Kevin Bacon teen classic about lusty high-schoolers who kick off their Sunday shoes, strain against their small town conservative parents, and “angry dance” their way to prom. But the director, who helped bring rap music to the Academy’s attention in his Oscar-winning Hustle & Flow (and next chained Christina Ricci to a radiator in Black Snake Moan, another tale set in the Southern region where Brewer was raised), comes at it with a fan’s devotion and with an awareness of how religion, morality and politics still overlap in the lives of teenagers today. And, as he watched Kevin Bacon do when he was a kid watching Footloose on the big screen, Brewer admits to indulging in his fair share of “angry dancing.” “I angry dance,” Brewer told Movieline recently in Los Angeles. “I blare The White Stripes — usually it’s off of Icky Thump, or there may be a couple of AC/DC tracks, maybe some off of Led Zeppelin’s Physical Graffiti — and I move around my office and kind of get that bad juju out of me.” Brewer is such a fan of the original, and pays homage so faithfully to it in his new rendition (which stars newcomers Kenny Wormald in the Kevin Bacon role as Ren McCormack and Julianne Hough, inheriting Lori Singer’s role as Ariel, the rebellious preacher’s daughter) that some may wonder why Paramount remade it at all. Read on to hear Brewer’s reasons for updating Footloose, why he’s loved it since age 13, what it has in common with another 1984 rebellious teen pic, Purple Rain, how his upcoming Tarzan project is as much an unexpectedly personal film for him, and the real-life origins of the best line in Hustle & Flow. I’ll start with the big question that I’m sure you’ve been answering left and right, but still: Why remake Footloose? Gee, no one’s asked me that! That’s so refreshing. [Laughs] I bet! You’ve only done about 12 hours of press today. Yeah, but I’ve also been across the country, and everybody else was asking that question — but it’s a valid question, I understand. I’m not judgmental about it. I’m sure there are plenty of people that think this is a money grab on behalf of the studio. I’m sure people are thinking that I’m just selling out or doing a director for hire gig. I can guarantee you that’s actually not the case on either front. There was a moment where Paramount was developing Footloose and it was going to be kind of a more dance celebration — the same team who had done High School Musical was going to do it. Then they decided they didn’t want to do it, and there really was this time when Paramount was going to kill the remake of Footloose. And they called me; I was already down the road with this other movie I thought I was going to do called Mother Trucker, but Adam Goodman, the president of Paramount, kept on me. He was like, “I refuse to accept your pass. You haven’t given me a valid reason why you’re not making this movie.” So you had to be convinced to do this movie? I passed on it twice. What finally made you change your mind? Adam was right. There hadn’t been a movie for teenagers like Footloose in the past couple of decades. I couldn’t think of any. I still challenge people to find one; I’m not saying there isn’t. But it’s not as easy as saying Stomp the Yard or Step Up. What was special in Footloose was not the dancing. Yes, the dancing was fun. But there was something else at work, and I think it had to do with teenagers and parents and educators and administrators and faith and the law, all being these polar opposites of opinion and all being very loud about their opinions — but no one was really listening to each other. And finally, through these camaraderies of Willard and Ren together, and Ariel and Ren getting to know each other, and the conflict between Ren and her father, suddenly everybody saw that they were kind of after the same thing. They all loved their children. They wanted the best for them, they didn’t want any harm to come to them, and it was OK to go to the dance. It was basically a movie that taught me as a teenager that it was OK to stand up for yourself, that it was OK to stand up for yourself in a respectful way. You didn’t have to throw a brick. You didn’t have to shout with a sign outside of City Hall. You could actually put on a tie and write a speech and maybe get further. And I hadn’t seen a movie like that up until I was 13. I was, you know, more of a kid who was into sci-fi movies. But Ren McCormack was this different kind of hero for me, and I can’t think of a recent movie that had those kinds of elements to it, that also had daring elements. People forget how hard Footloose was. I’ve got this fight with Chuck and Ariel, that’s right out of the original. Right. And it goes down in almost exactly the same way. I don’t think I could put that in a teenage movie today if it wasn’t already established in Footloose. Sure. So many of the iconic, memorable scenes from the original Footloose are the kinds of scenes you don’t see in youth-oriented films these days. And that fight between Chuck and Ariel, in particular, is still very hard to watch. It is hard to watch. I think even people who are fans of the original can’t believe we went back there. But there are teenagers out there that are dealing with that in their life, there are teenagers out there that have had friends that are dealing with it. So it’s not something that’s foreign to them, it’s just to some extent not the first thing studios are thinking about in terms of entertaining 13-year-olds. Yet in my day, ’80s movies that usually get maligned — they had some punch to them. Purple Rain, that movie came out the same year Footloose did. I love Purple Rain. It’s one of my favorite movies. I could teach a class on the first eight minutes of Purple Rain. But that movie had, you know, his father trying to kill himself. He hauls off and smacks Apollonia after she gives him the white guitar. It was complicated, it was complex. It was at times hard to watch. A woman gets dumped in the garbage, literally. Right! Right. I mean, it’s strange how hard those movies were in places, yet when we look back on them we call them cheesy. Do you think adults now want to cushion things for younger viewers because they don’t think they can take the kinds of scenes? The idea being what we could handle back then, kids today can’t. It’s so funny, because I remember I saw Footloose in a theater when I was 13. And I remember, when she says, ‘Daddy, I’m not even a virgin,’ it got this groan. Like people couldn’t believe she said that. Well, the same thing happens when I play it in my remake. And as much as people think that teenagers are hardened, and nothing can shock them, it still shocks them.