Sunday, 30 December 2012

Italy's Berlusconi Ordered to Pay Nearly $50 Million a Year in Alimony

Silvio Berlusconi Veronica Lario 2007 - H 2012

ROME -- Francesca Pasquale, take note: Apparently, it can pay to be the former Mrs. Silvio Berlusconi.

Just days after the 76-year-old Berlusconi, Italy’s billionaire media tycoon and three-time prime minister, announced he got engaged to Pasquale, 27, terms of divorce from Berlusconi’s second wife, Veronica Lario, were revealed.

He will pay her €36 million ($47.2 million) a year in alimony. That works out to be nearly $131,000 a day.

STORY: Italy's Berlusconi Engaged to Woman 49 Years His Junior, Now Feels 'Less Lonely'

The final figure is below the $56.3 million a year Lario asked for, but 10 times the $4.7 million a year Berlusconi had offered.

Berlusconi had been paying Lario €250,000 ($328,000) per month in support while the divorce was pending.

The judge’s decision announced Friday is the culmination of a three-year divorce ordeal started in 2009 after Lario announced she was leaving Berlusconi because of his taste for young women, following the widely reported 18th birthday party of would-be Neapolitan showgirl Noemi Letizia, which Berlusconi attended, paparazzi in tow.

Berlusconi’s taste for young women did not abate after Lario’s comments. Even before his engagement to Pasquale, a former dancer nearly 50 years his junior, Berlusconi was linked to scores of young women through his famous “bunga bunga” sex parties. Berlusconi is under investigation for allegations of paying an underage cabaret dancer named Karima el-Mahroug for sex.

But the case involving el-Mahroug -- who is best known by her stage name, Ruby the Heart Stealer -- is not the greatest of Berlusconi’s concerns at the moment. He also is under investigation for abuse of power, a more serious charge, and in October was sentenced to four years behind bars for tax fraud. Also, prosecutors this month asked a judge to sentence Berlusconi to at least a year in jail in connection to a wiretap case involving a political rival.

STORY: Silvio Berlusconi Again Mulls Political Run As Italian Media Empire Crumbles

All the while, Berlusconi had time to orchestrate a political maneuver that triggered the resignation of Mario Monti, his successor as prime minister, and to start laying the groundwork for another run at Italy's top post in 2013.

Berlusconi is one of the country's richest people -- notwithstanding his divorce settlement with Lario -- mostly on the strength of Mediaset, the television and cinema giant he founded in the 1970s. Mediaset includes three national television networks in Italy and one in Spain, plus Medusa, a film production and distribution house.


View the original article here

Oscar's E-Voting Problems Worse Than Feared (Analysis)

Oscar Statues

It looks like online Oscar voting is hitting a few snags, which some Academy members worry might depress voting participation to its lowest level in years. 

Voting to determine the next set of Oscar nominees began Dec. 17 and will extend through Jan. 3. On Dec. 26, I reached out to a wide cross-section of the Academy to see if they tried to vote online (an Academy spokesperson tells me that "a great majority" of members have registered to do so) and, if so, to characterize their experience. Roughly half of the members reached said they experienced problems navigating the site; more than one described it as a "disaster." They also worried that hackers could compromise the Oscar vote.

STORY: THR's Awards Analyst Suggests 3 Fixes for the Academy Awards

On Dec. 26, I also spoke with an Academy spokesperson who told me most complaints about e-voting have stemmed from members “forgetting or misusing passwords.”

Members who signed up for e-voting after paying their dues in October received a voter identification number (or VIN) in the mail this month. They then had to create a voting password, distinct from their member password, that met very specific criteria: It must be no shorter than eight characters and no longer than 16; it must include at least one alpha and one numeric character; and it must include one special character, such as !, @, # or $. When they use it to try to log in to the voting site, though, there's no way for them to see what they have entered, as is common on other sites.

Several members stressed that they carefully typed in their password three different times, were rejected each time and, after the third, were locked out of trying again until they contacted the toll-free help line. Some say they endured considerable wait times, only to be told that they could set a new password but would need to wait 24 hours for the password database to refresh before they could try again. (The Academy spokesperson says when members make changes between 6 a.m. and 2 p.m. PT they will be updated by 6 p.m. PT, and when members make changes between 2 p.m. and 6am PST they will be updated by 9am PST the next morning.)

"It’s easier to break into the CIA," one member told me.

When the Academy announced its plans to adopt e-voting on Jan. 25, they hailed as its great virtue the fact that members could vote from anywhere with an Internet connection right up until the voting deadline, as opposed to having to put a paper ballot in the mail days earlier in order to ensure that it arrives in time to be counted. At the time, some (me included) speculated that the change might be too much too soon, particularly because "more than a few members don't even have computers and/or know how to use the Internet." (The median age of the Academy's 5,765 members, according to a recent study, is 62.)

Back then, an Academy spokesperson told The Hollywood Reporter, "We're working on the specific details; however, the Academy will ensure each voting member has an opportunity to participate fully in the process." And they've certainly tried. A mailing went out several months ago offering members the option to vote by paper ballot, as long as they requested one by Nov. 30 -- a deadline that later was extended to Dec. 14. The Academy subsequently sent paper ballots to any members who paid their dues but never replied with a preference. It also set up e-voting stations in Los Angeles, New York and London, where Academy officials can help walk members through the process. And there's also a toll-free help line, with Academy operators available 24/7.

STORY: 282 Films Advance in Best Picture Oscar Race

Still, there have been problems, and several members expressed concern that this burdensome experience will prompt some members to throw in the towel and not vote at all. That, coupled with the abbreviated nominations voting period that the Academy also implemented this year -- which basically overlaps with Christmas/New Year's break and leaves voters with little time to see end-of-the-year releases -- could lead to record-low participation. One member says, "There will probably be a large percentage of people who will just say, 'Screw it,' and not even vote this year." Says another: "I have heard from several that it’s been a disaster and they wanted to give up. Confused and frustrated people will just not vote.”

"We have to balance the opposing needs of convenience and security," counters the Academy spokesperson.

It is true, though, that for voters who return from vacation after the holidays and try to submit an e-vote, there is virtually no margin for error: According to the Academy spokesperson, members need to have registered online by Jan. 2 in order to submit a vote by the 5 p.m. deadline on Jan. 3. This is prompting some members to call for the Academy to extend voting because, they say, the ultimate objective should be to include people in the process, not keep them out.

Additionally, several members voiced concern that the voting website could be susceptible to hacking. "I’m not convinced that it’s exactly the Fort Knox of sites," says one. "It’s probably more difficult for members to log on than it is for hackers!” Another adds: "Nothing’s really secure. There are countries that have been hacked." (This is a reference to the fact that even tightly guarded government websites in the U.S. and Iran have been penetrated by operatives in China and Israel, respectively, and that in some cases it took years before they even knew they had been hacked.)

Members seem to be worried less about ballot-stuffing (since each ballot is associated with a member ID) than ballot-changing (since a member's ballot conceivably could be changed after it is submitted and he or she would never know it). The Academy is taking certain precautions, like asking members to provide a phone number at which they can be reached for an automated confirmation as soon as their ballots are submitted -- but the database of phone numbers could conceivably be interfered with, as well.

ANALYSIS: Oscar's Dirty Tricks: Inside the Whisper Campaign Machine  

Here are more extensive highlights from my conversation with each Academy member:

VOTER #1
Ballot:
Online
Comments: “I received something in the mail that looked to me like junk mail when I first got it. Then I open it up and it’s my [voter ID] number for Academy voting. So many people may have thrown that away, for one thing. ... Then, there’s a problem with using caps and noncaps when you sign-in, which I think may be confusing some people, because when you’re putting in your password you don’t know whether or not you’ve screwed it up. ... And then, you open [the website] up, and it was rather complicated through there. I had to try to sign in several times before I actually got in. My son had to show me that I was done voting and what to press in order to submit. … The whole site was a little bit confusing. ... I imagine some of the less technologically savvy Academy members might be struggling with this. ... It would be an obvious target [for hackers]. … I’m not convinced that it’s exactly the Fort Knox of sites. It’s probably more difficult for members to log on than it is for hackers!”

VOTER #2
Ballot: Paper
Comments: “Listen, I don’t do anything online. You know, I don’t even have a computer. I’m writing my next book in longhand with drawings in notebooks!”

VOTER #3
Ballot: Online
Comments: “It was kind of a pain in the neck. … When I first signed up, there was a little bit of a hitch because they would tell you, you know, you have your own password, and then you needed a second password for voting, and then when you went to [log in] and it would say, ‘Do it again.’ So I finally called up the Academy, and they were very helpful, and so I assume it worked -- unless someone hacks into the Academy computers, you know what I mean?”

VOTER #4
Ballot: Online
Comments:“[I'm pretty technologically literate], but I'm just an old-school person. ... I love seeing that paperwork. … It’s like, do you want to do online banking or do you want to write a check and walk it in and know that it got there? Plus, I thought, 'I want it one more year so I can take a picture of it and say, ‘This is the last year we had paper.’... I’ve heard of problems from several colleagues. They couldn’t execute their vote. They couldn’t make it work. So then they got on the phone line and they couldn’t even get through, and then when they finally did get through they didn’t get the answers that they needed. ... Now, people are reaching out, saying: ‘I don’t want to do this. Please send me the paper. This is lame. I need to be able to do it the way I always did it.' ... All the way around, I think they made a mistake in doing this. … They should have had more lead time than, ‘Here you go; this is what we are expecting now.' ... We’re talking about many elderly people who are not that computer literate. They might think that it’s simple, but the simplest thing isn’t simple to many people. ... There will probably be a large percentage of people who will just say, 'Screw it, and not even vote this year. ... I think [the ballots] all correlate to a specific member, but does that mean a vote couldn’t be changed [by a hacker]? You’d never know. That can’t happen with paper. … Nothing’s really secure. There are countries that have been hacked, you know?”

VOTER #5
Ballot: Online
Comments: “I’m having problems with it. … When I signed up a few months ago, they gave me a number, a [Voter ID] number or a special number, and said to put it in a safe place. And then for some reason they sent me a different one in the mail and said to use this one, disregard the other one. So eventually I tried to vote, but it said, ‘Wrong, wrong, wrong.’ And then it logged me out after the third try. So I called the help number, and they said, ‘I’m really sorry, you’ve been locked out, so now we have to give you a brand-new password.’ So we go through all this rigmarole, and then they said, 'You can’t vote for 24 hours [because I was told that their database requires that amount of time to refresh and reflect any changes].' I had to get on an airplane, so I have not voted yet. I tried to do it early and get it done with, but there you go. … It’s definitely problematic. If I try again, and it doesn’t work, I’ll let you know.”

VOTER #6
Ballot: Online
Comments: “I still haven’t voted. I couldn’t remember my password, so [after a few tries] they locked me out of it. Once they lock you out of it, you can’t get back in, so you have to get a whole new password and everything, so I did that... I called the help line, and I asked them to walk me through it, and they were very polite and friendly, but you could just hear in the girl’s voice that I was not the only one complaining that day. ... And then they said you can’t vote for 24 hours. ... I have heard from several [fellow members] that it’s been a disaster and they wanted to give up because they couldn’t navigate the system. It wasn’t even letting them in, requiring dual passwords and all this nonsense. ... It’s easier to break into the CIA. ... [I suspect that the number of people voting] will be far fewer than ever before, because confused and frustrated people will just not vote.”

VOTER #7
Ballot: Paper
Comments: “I like the old-fashioned paper route. ... I don’t like [online voting]. … It could be anybody voting.”

VOTER #8
Ballot: Paper
Comments: [None. He was boarding a plane and did not have time to talk.]

VOTER #9
Ballot: Online [This member signed up for online voting Dec. 26 after being alerted by my call that he'd missed the deadline to request a paper ballot, which he says he never knew about because he never received the earlier alert asking him to select a preference and still never received a paper ballot. He acknowledges that he might have mistaken the first communication for trash.]
Thoughts: "You get mailings from the studios, you get mailings from the Academy, you get multiple discs. Every day you get a bunch of different items. ... I thought that I could wait till the 3rd and then log on [through the general membership login]. ... You know, a lot of older, cantankerous people -- people who aren’t so highly motivated to vote -- are gonna say, ‘Oh, forget this.’ I’m sure there’s gonna be some votes lost. ... I know the deadline is coming up, but if enough other people have these problems, do you think they will postpone it?”

VOTER #10
Ballot: Online
Thoughts: “I have learned a little lesson over the years: People in Hollywood have no patience. … I can’t tell you the number of times I’ve sent something to somebody, and I know that they’ve gotten it, but they haven’t responded, so I’ve called them, and they say: ‘Oh, I didn’t get it. Can you send it to me again?’ It doesn’t shock me to hear that people are saying that they’re having issues. ... Although for voters that are maybe older and haven’t necessarily done a lot of this kind of stuff online before, it might be confusing. But I’ve talked to other Academy members who are e-voting, and I haven’t heard a thing.”


View the original article here

'The Hollywood Reporters' Video Series, Ep. 3: Oscar Contenders Dress to Impress

The Hollywood Reporter has released the third installment of its new weekly web series The Hollywood Reporters. In each episode, THR awards analyst Scott Feinberg, the series' host, chats with colleagues from THR's newsroom, which is filled with many of the leading journalists covering the world of entertainment, about different aspects of the awards race.

PHOTOS: Golden Globes 2013: Nominated Actresses' Looks Leading Up to the Main Event

This week, Feinberg was joined by senior fashion and beauty writer Merle Ginsberg for a discussion about the role of red carpet fashion in the awards season, generally, and this particular awards season, in which both female acting categories will probably be won by serious fashionistas: Jessica Chastain (Zero Dark Thirty), Jennifer Lawrence (Silver Linings Playbook) and Marion Cotillard (Rust and Bone) are the top best actress contenders, and Anne Hathaway (Les Miserables) is the prohibitive favorite in the best supporting actress race.

VIDEO: 'The Hollywood Reporters' Video Series, Ep. 2

Feinberg and Ginsberg also discuss how many of the top contenders who will be attending numerous awards shows, in tandem with their stylists, plot what they will be wearing throughout the entire season in order to avoid repetition and cultivate different looks; the lack of new names amongst this year's field, but high prevalence of people over the age of 40, including the always-glamorous 45-year-old Nicole Kidman (The Paperboy) and 61-year-old Kathryn Bigelow (Zero Dark Thirty); the evolution of Lawrence's fashion consciousness in the two years since she first became the subject of awards buzz for Winter's Bone; and Hathaway's unfortunate wardrobe-malfunction at her film's New York premiere.


View the original article here

Saturday, 29 December 2012

'Les Miserables' Bows at No. 1 on Soundtracks Chart

Les Miserables Soundtrack Album Art - S 2012

It's Les Mis mania on the Billboard charts this week. Les Miserables: Highlights From the Motion Picture Soundtrack arrives at No. 1 on the Soundtracks chart with 43,000 sold according to Nielsen SoundScan. It concurrently bows at No. 33 on the Billboard 200.

The album was released on Friday, Dec. 21 -- four days before the film's release on Christmas Day. The soundtrack sold 43,000 in less than three full days on sale, as SoundScan's tracking week ended on Sunday, Dec. 23.

Sixty percent of its first-week sales came from digital downloads, with Amazon MP3 fueling a chunk of that sum courtesy of a $5 sale price. The album has been marked down to $5 since release.

Released on Republic Records, the Les Miserables: Highlights album contains 20 songs featured in the film. It is unknown if a more complete soundtrack will eventually see a release, but don't rule it out.

The biggest selling song from the album last week was "I Dreamed a Dream," performed by Anne Hathaway. The download sold 20,000 copies.

Over on the Top Cast Albums chart, which ranks the top-selling musical theater show albums of the week, a full half of the chart's top 10 is occupied by Les Miserables titles.

On the tally, the original Broadway Cast Recording rises from No. 3 to No. 2 (3,000 sold; up 34 percent) while the Original London Cast Recording is steady at No. 5 (2,000; up 27 percent). The Les Miserables Live! New 25th Anniversary Production set is also a non-mover at No. 7 (2,000; up 41 percent) while the Les Miserables: In Concert at the Royal Albert Hall production is also stationary, at No. 8 (1,000; up 41 percent). Rounding out the Les Mis offerings on the Cast Albums chart this week is the Highlights album from the Original Broadway Cast Recording, which holds at No. 10 with just over 1,000 (up 47 percent).


View the original article here

Thursday, 27 December 2012

Bio of Russia's Mark Zuckerberg to Be Filmed

Facebook Logo Mark Zuckerberg Inset - H 2012

MOSCOW – Russian producer Alexander Rodnyansky will adapt for the screen a book on Russian Mark Zuckerberg, Pavel Durov, the founder and owner of Vkontakte, Facebook’s local equivalent.

Rodnyansky’s A.R.Films has acquired rights to Nikolai Kononov’s recent bestseller Kod Durova (Durov’s Code), centered on the social networking web site and its 28-year-old owner, and plans to start production next spring.

“For a long time, we have wanted to make a movie directly connected to life around us, a movie that is focused on contemporary people rather than an imaginary world,” Rodnyansky said in a statement.

“The story of Vkontakte is very strong and cinematic, and that is why I decided to write it,” Kononov added. “This social networking web site is a virtual state with a population of over 100 million users, while Durov’s way is instructive for the new generation of entrepreneurs, as well as all those who would like to do business online.”

A spokesperson for A.R.Films told The Hollywood Reporter that the film’s budget is to be between 100 million rubles ($3.2 million) and 120 million rubles ($3.9 million) and the release is tentatively scheduled for early 2014.

Rodnyansky, who is known in the West for Cloud Atlas, Jayne Mansfield's Car and the upcoming Renny Harlin project Dyatlove Pass Incident, is to produce the movie with Sergey Melkumov, his long-time co-producer. The director and cast have not been disclosed.

A.R.Films’ assets include production company Non Stop Productions, international licensing and distribution company A Company and Kinotavr, Russia’s main national film festival.


View the original article here

Russian Box Office to Reach $1.3 Billion in 2012

The Hollywood Reporter Russia Edition Launch Clooney

MOSCOW – The Russian box office is to reach $1.3 billion this year, a 15 percent increase from 2011, while the local fare’s share is to decline.

Romir Movie Research said that Russia’s total 2012 box office gross is to be 40.5 billion rubles ($1.3 billion), 15.1 percent up from the previous year.

Local films are to gross 5.6 billion rubles ($181.8 million), which is the same as last year. However, the local fare’s share in the total gross is to decline from 15.9 percent to 13.8 percent, with the number of admissions to Russian films plummeting by 8.8 percent to 26 million. Last year’s figure for the total gross of local movies remains unchanged only due to the increased average price for movie tickets, which went up from 196 rubles ($6.36) to 215 rubles ($7).

According to Oleg Ivanov, head of Romir Movie Research, the main reasons for the decline in the local films’ share are the increased activities of Hollywood majors in the Russian market, a decline in private investment in the industry, which never recovered from the 2008 downturn, and high admission prices, compared with overall living standards in Russia.

And while the government has recently criticized filmmakers for their failure to compete with Hollywood at the box office, industry players say the current share of local films is to be expected.

“The existing share of Russian films is fair,” producer Sergei Selyanov said earlier this week at a round table devoted to state support for the film industry. “The share used to be higher because the total market’s size was smaller. Today, with the same box office figures, a movie accounts for about one half of what it used to in the total box office.”

Meanwhile, according to Romir Movie Research, in 2013, the total Russian box office is to reach 44.8 billion rubles ($1.45 billion), with the local share accounting for 16.7 percent.


View the original article here

Alexander Sokurov’s ‘Faust’ Wins Russian Critics’ Award

Alexander Sokurov - H 2012

MOSCOW -- Alexander Sokurov’s Faust was awarded as the best film at the ceremony for the annual Russian critics’ award Bely Slon (White Elephant), which was held in Moscow on Dec. 20.

The movie, which won the Golden Lion at the 2011 Venice Film Festival and was released in Russia last February, also brought Sokurov the best director award, and Anton Adasinsky, who played Moneylender, was awarded as the best actor in a supporting role. The film’s writer Yuri Arabov picked up the best screenplay award.

Maria Shalayeva collected the best actress award for her role in Pavel Ruminov’s Ya Budu Ryadom (I’ll Be Around) and Olga Lapshina picked up the award for the best female performance in a supporting role for Vasily Sigarev’s Zhit (Living).

Vladimir Svirsky, who starred in Sergei Loznitsa’s V Tumane (In the Fog), was awarded as the best actor. Living’s director of photography Alisher Khamidkhodzhayev was awarded for the best cinematography.

The special Miron Chernenko award went to Lubov Arkus’ documentary Anton Tut Ryadom (Anton’s Right Here). The young critics’ award Golos (Voice), which was introduced this year, went to Alexei Balabanov’s film Ya Tozhe Khochu (I Also Want It).

Georgy Paradzhanov’s Vse Ushly (Everybody’s Gone) was awarded as the best debut. Sergei Fevralev, who worked on Andrei Proshkin’s Orda (The Horde), collected the best set design award and Andzhei Petras, who scored Mikhail Segal’s Rasskazy (Short Stories), was awarded for the best music.


View the original article here