'Transformers: Dark Of The Moon' On Blu-Ray: Optimus Prime Speaks!

Optimus Prime, leader of the Autobots and animated role model for generations of geeks, would be nothing without his voice so, really, the hero you have to thank for years of service isn't Prime himself, but voice actor Peter Cullen. Cullen, who also provides the iconic voice of Eeyore the donkey of "Winnie the Pooh" fame, first breathed life into the cybernetic lungs of Optimus Prime in the 1980s "Transformers" animated series and movie; and he's still at it, providing the voice of the transforming hero in all three of Michael Bay's "Transformers" movies, most recently "Dark of the Moon." For many fans, Cullen's is one of the most memorable, beloved voices of our childhood and it'll please you to know that, fans, he loves you, too. With "Transformers: Dark of the Moon" arriving on Blu-ray today (September 30), MTV News sat down for a one-on-one chat with Cullen about Optimus Prime and his heroic legacy. MTV News: Peter, you've been associated with Optimus Prime for many years and through multiple versions of the character. He's a figure that means a lot to a lot of different people. What does he mean to you? What does it mean to play this iconic character? Peter Cullen: I have to tell you right off the get go, it's probably one of the most important moments of my life, right from the beginning until this day. Certainly it's transcended decades in my life, curiously and interestingly, with its ups and downs and ins and outs. It's had a great influence on my life. I might add that it increases when I realize the effect it's had on some people. Those are all positive and good things. It's quite the unique position to be in, and quite frankly I never could have imagined it from the beginning but that's how life is! [Laughs] Well, the character certainly has endured a lot in his time! He certainly has. From Generation 1, and still I'm reminded that there are genuine Generation 1 fans who have a hard time letting go of their childhood concept, but I share that with them as well. To see where it's gone it's mind boggling, especially with technology. You expect that to happen; you can't stay in the Middle Ages somehow, but the technologies today are so advanced and it's a daily discovery. There's something new every day. When you first found out that the "Transformers" movies were happening and it had been a little while since your version of the cartoon was on the air what was your reaction to the news? How did you feel knowing these classic characters were going to be revisited in such a big way? I was excited, and at the same time, I was a little apprehensive, because I had no idea whether or not I'd be included. I didn't want to get excited about it because I'm used to, as most actors are, being rejected one way or another. [Laughs] You audition every day, it seems. Most people go into a job and they submit their resume and they may be there for the rest of their life, but an actor's last job is his last job. So I didn't want to get all that excited for fear of being let down. But that's a normal actor ploy: you condition yourself. You muscle up to it. But for me, I was apprehensive, as I said. I had mixed feelings. But when I was finally cast as Optimus Prime, I was elated. But more so because of the fan base that was responsible for [the casting]. I developed an immediate relationship with this invisible base, but I knew they were on my side, and I adopted them immediately. I love them, you know? Quite frankly, I don't know how else to describe it. It's a core experience: I affected their lives, they affected mine. It's quite unique. The character you're playing in the movies, it's a different continuity and a different version of Prime than the Autobot we've seen you play in the past. Is there a new approach you're taking when tackling Optimus now, than when you were playing the character years ago? Yeah, for sure. The one that jumps out most often is his human relationship contact. That takes him out of the cartoon box and now he's dealing with, in one form or another, with relationships and emotions that normally he would employ back in Generation 1 only at given moments, when he'd be reflective or endearing or emotional in one capacity or another. But certainly in the new concept it's his relationship with humans that brings him to another dimension. I have to keep considering that without destroying the original concept of Prime, which is pretty basic: he's the ingredients of what a hero should be, in my mind. I've described this before, Josh. [Optimus] is personally related to my own experience with a family member, my brother Larry. The story is now becoming a little more open and significant in that my brother Larry passed away in March. His influence on me was definitive. His core values as a marine and as a leader and as a Bronze Star recipient a true hero, a combat hero. I used Larry [as my inspiration for Optimus Prime]. It's so easy to draw from him because we were 13 months apart. You can't forget any of the ingredients that easily actually, it's virtually impossible. All I have to do is think of him, and Prime is right there. Looking specifically at "Dark of the Moon," everyone involved who we've talked to at MTV News has declared this one the best of the three "Transformers" films. How does the movie stack up for you? Do you share that feeling, that this is the best of the bunch? Oh, I think so. I do. It got off to a rocky start and it was confined by money, literally. They could only animate Optimus Prime for a length of time they had in their budget. Ten thousand moving parts is pretty hard to digitally master. As the success grew, of course, my work increased, but I think ["Dark of the Moon"], from what I'm judging based on the response, is the best. I agree with that. I think it was more entertaining, and god knows where it's going to go from here. That leads me right to my next question we keep hearing that this is it for Michael and Shia, that they're done, that this is the final "Transformers" film they have in them. But do you see a future for these movies? Do you think they'll continue on after "Dark of the Moon," and what would you want to see next? Oh, absolutely. There's been more than one director in "Transformers" and when you look at "Transformers" as a brand, the human element is there, but the human element can change a lot faster than you can change an Autobot or a Decepticon. They'll always be there and the format will probably refreshingly change over time, and who knows where it's going to go. The imagination, the concept of the great writers, their imaginations just knock me out all the time. But I think there's a future for it. I think there should be a future for quality characters, and as long as there's an influence in the right direction, for a character to convey the good traits of character, I think there will be a demand for that. It's a positive demand and it has an effect, it has a message, and in the future I hope they spend more time developing the more positive elements of the heroes and the message. "Transformers: Dark of the Moon" is out on Blu-ray today (September 30).

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CBS, Fox split premiere week

New Girl became Foxs top-rated live-action fall laffer debut in 10 years by scoring top demos and building on its lead-in from Glee. CBS The Big Bang Theory scored with an expanded episode.Though its ratings were lower than many had guesstimated, two nights of solid, winning numbers from Fox's "The X Factor" were the deciding factor in premiere week, which saw the surging net kick off a season as the leader among young adults for the first time in its history. CBS had a strong week as well, with Ashton Kutcher's debut on "Two and a Half Men" standing as the dominant No. 1 program and the net's early-week dramas performing well. It finished a close second in 18-49, a solid first in 25-54 and rolled as usual in total viewers. ABC ran third, on par with last year, while fourth-place NBC was down about 7%. Biggest story of premiere week had to be the comedy comeback, with half-hour laffers accounting for nine of the frame's top 10 nonsports shows in 18-49, according to Nielsen. And from Monday through Thursday, it was new and returning comedies that were the clear standouts of each night. Premiere week, of course, typically comes with some asterisks -- including expanded episodes of hit shows like ABC's "Modern Family" and "Grey's Anatomy" and CBS' "How I Met Your Mother" and "The Big Bang Theory." Fox and NBC, on the other hand, stuck mostly to their regular skeds. And in the case of CBS and Fox, their early-evening Sunday NFL overruns regularly skew year-to-year comparisons in the fall. CBS, for example, enjoyed a lengthy overrun a year ago, and was down 6% in 18-49 this year without it; Fox, on the other hand, saw its late-afternooon NFL action spill roughly 30 minutes into primetime this year, contributing to its 31% gains vs. the opening frame of 2010. Another factor that has to be considered is the increased penetration level of digital video recorders, with 42% of the Nielsen sample households owning DVRs compared with 38% a year ago. The "live-plus 7" numbers, which include same-week DVR playback, are expected to again be bigger than last fall -- based on preliminary "live-plus 3" numbers. Looking at the Nielsens for the week of Sept. 19-25, Fox led in adults 18-49 with a 3.4 rating/9 share in adults 18-49, followed by CBS (3.1/8), ABC (2.8/8) and NBC (2.6/8). CBS held the edge over Fox in adults 25-54 (4.1/10 vs. 3.6/9) and drew 2 million total viewers more than its closer pursuer, ABC (12.1 million to 9.9 million). Thanks mostly to Fox's healthy gains, the Big Four were up vs. premiere week a year ago in 18-49 rating (a combined 11.9 vs. 11.5) and total viewers (39.5 million vs. 39.3 million). Fox was strongest at midweek, with "New Girl" bowing to winning demos on Tuesday (4.8/12 in 18-49, 10.28m). It built on its lead-in from "Glee" (4.0/11, 9.21m) and became the net's top-rated live-action fall comedy debut in 10 years; for its part, "Glee" dropped out of the top 10 after kicking off its second season a year ago as the No. 1 entertainment series in 18-49. "The X Factor" bowed to solid but underwhelming scores on Wednesday (4.4/12, 12.49m) and Thursday (4.3/12, 12.51m), lifting the net to 18-49 victories on both nights even though it was not close to "American Idol" ratings territory. The Simon Cowell reality show provided Fox with significantly stronger showings in premiere week than a year ago, lifting Wednesday by 52% and Thursday by 79%. CBS, which has now won premiere week in 25-54 and total viewers for three straight years, was paced by series highs for "Two and a Half Men" (10.7/25 in 18-49, 28.74m) -- the top scores for a regular comedy on any net in six years -- as well as the preview of "2 Broke Girls" that followed it (7.1/16, 19.37m). Also Monday, "How I Met Your Mother" was up vs. last year (5.2/13 in 18-49, 12.22m for its 8:30 p.m. seg), as was Thursday's "The Big Bang Theory" (5.1/14, 14.94m at 8:30). CBS saw its two "NCIS" shows grow year to year, with the original the week's No. 1 drama (4.3/12, 19.96m), and "Criminal Minds" grew on Wednesday (4.1/10, 14.14m). Among new dramas, "Unforgettable" led its Tuesday hour (2.9/8, 14.09m) and the net did OK with its bows of "Person of Interest" on Thursday (3.1/8, 13.33m) and "A Gifted Man" on Friday (1.4/5, 9.45m).ABC saw "Dancing With the Stars" return noticeably cooler (4.0/10, 19.03m) but the 10 p.m. dramas airing after it both nights -- "Castle" and "Body of Proof" -- held up well. Net saw similar results on Sunday, when the new "Pan Am" (3.1/8, 11.06m) impressed behind a declining "Desperate Housewives." ABC's best night was Wednesday, where "Modern Family" hit a series high (6.2/15, 14.52m), providing a good lead-in for new soap "Revenge" (3.3/9, 10.02m) -- a big improvement over last year's "The Whole Truth." NBC had a pretty quiet premiere week, with its best results coming Thursday with "The Office" (3.9/10 in 18-49, 7.64m) leading into new comedy "Whitney" (3.3/8, 6.84m). Also, new Wednesday comedy "Up All Night" fared OK in its regular-slot bow (2.4/7, 6.05m). "Sunday Night Football," meanwhile, was the week's No. 2 show (8.3/21, 20.36m), up vs. last year. Not faring so hot were the bows of 10 p.m. dramas "The Playboy Club" on Monday (1.6/4, 5.02m) and "Prime Suspect" on Thursday (1.8/5, 6.05m). CW was led by Thursday's "Vampire Diaries" (1.2/3, 2.52m) and "Secret Circle" (0.9/3, 2.12m), both down vs. their early premieres. Though it was broadcast's big week, cable did claim three of primetime's top 25 shows in adults 18-49: "Monday Night Football" at No. 9 (4.8/13), the Charlie Sheen "Comedy Central Roast" at No. 22 (3.8/9, 6.43m) and "Jersey Shore" at No. 24 (3.5/9, 6.49m). Contact Rick Kissell at rick.kissell@variety.com

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Roman Polanski Receives Standing Ovation at Zurich Film Festival

Roman Polanski received a ten-minute standing ovation on Tuesday within the Zurich Film Festival when he needed transpires with get his Lifetime Achievement Award, couple of years after it absolutely was initially presented onto him.our editor recommendsRoman Polanski Returns to Scene of 2009 ArrestVenice 2011: Al Pacino's 'Wilde Salome,' Roman Polanski's 'Carnage' Win AwardsCarnage: Venice Film Review "Better late than never" the director mentioned through the large event. He thanked, particularly, the folks in the Zurich prison staff to create his stay couple of years ago workable. "I'm not kidding, definately not it," he mentioned. PHOTOS: 'Carnage' and 9 Other Movies to know within the Venice Film Festival Polanski, 78, travelled to Zurich to obtain his award and connected adulation. The festival follows the tribute while using world premiere from the "secret" documentary. Polanski never received the award this past year as they never handled to obtain beyond arriving the Zurich airport terminal terminal. Swiss police arrested him around the U.S. warrant from 1978, when Polanski fled the country after pleading guilty for you to get illegal sex getting a 13-year-old girl. What adopted was several days of house arrest, a extended extradition fight together with a media circus. It ended, since it began, with Polanski a free of charge guy. STORY: Roman Polanski Notifies His Side in the Story in New Documentary Polanski's latest film, Carnage, starring Kate Winslet, Jodie Promote and Christoph Waltz, opened up Sept. one in the Venice Film Festival for the best reviews Polanski has seen since 2002's The Pianist. Discover much more about Polanski's return to the Zurich Film Festival here. Related Subjects Roman Polanski

Disney XD Renews Kickin It For Season 2

Disney XD has renewed its top-rated original series Kickin’ It for a second season. Since its June 2011 premiere, the martial arts-themed sitcom accounts for the network’s top three live-action telecasts in kids 6-14, kids 6-11 and tweens 9-14. In addition, the July 25 episode ranked as Disney XD’s No. 1 live-action telecast ever in the boys demos. Production on Season 2 will start in December for a 2012 premiere. Kickin’ It, which follows a crew of lovable misfits determined to beat the odds at the Bobby Wasabi Martial Arts Academy, is created and executive produced by sitcom veteran Jim O’Doherty.

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Revenge

Shot in New York by ABC Galleries. Executive producers, Mike Kelley, Marty Bowen, Wyck Godfrey, Phillip Noyce producers, Randy Sutter, Samantha Thomas director, Noyce author, Kelley.Emily Thorne - Emily VanCamp Victoria Grayson - Madeleine Stowe Conrad Grayson - Henry Czerny Daniel Grayson - Josh Bowman Jack Porter - Nick Wechsler Nolan Ross - Gabriel Mann Ashley Davenport - Ashley Madekwe Charlotte now Grayson - Christa B. Allen Declan Porter - Connor Paolo The cash, energy and privilege connected using the Hamptons is really a ripe setting for any night time cleaning soap, along with a youthful lady bent on revenge against individuals accountable for her father's disgrace and dying when she would be a child is really as good a starting point every. Yet "Revenge" does not quite pop, despite a dent murder to create the wheels moving. Even though show includes the symbol for infinity, when it comes to timelines, generating a complete season order supplies a more pressing concern. Area of the problem has related to Emily VanCamp ("Siblings & Siblings"), who is only a little too sweet and apple-cake as Emily Thorne, the alluring youthful lady who occupies residence one of the ostentatiously wealthy set, with track of exacting you-know-what. After trying to hook audiences using the murkily shot slaying on the moonlit beach, the series jumps back "five several weeks earlier," as Emily rapidly wangles a party invitation to some lavish party tossed by Victoria Grayson (Madeleine Stowe), referred to because the "reigning full from the Hamptons." Soon, though, that crown starts to relaxation uneasily, as Emily sets about her elaborate plot from the local gentry, including using Victoria's boy (Josh Bowman) -- who immediately takes the bait by setting his sights on Emily -- from the family. The very first hour (shot in New York, with series production shifting west to Manhattan Beach, Calif.) features philandering husbands and catty snubs, auguring the "Dallas"-like doings in the future. Ultimately, though, individuals elements will need to undertake a existence that belongs to them, since Emily attaining satisfaction against all of the key gamers must be deferred to provide the title any meaning or suspense. "Revenge" teases out its story by flashing in two ways -- not only where the pilot starts, but additionally by Emily remembering how all of her targets performed a job within the elaborate, high-finance plan that presented her father. Knowing a set similar to this through the pilot an additional episode is tantamount to looking at a magazine in line with the prologue, however the show mirrors many a Hamptons resident when you are too thin because of its own good. Stowe (who within an odd footnote co-starred in "Revenge," the 1990 Kevin Costner pic) may be the apparent standout because the brittle, callous bitch who rules her status-conscious social circle, there is however very little yet to tell apart Victoria from a variety of divas past and offer. That leaves VanCamp, whose innocence might disarm her prey but additionally does not establish her like a Machiavellian schemer using the grit or assets to create the entire stinking (if superbly decorated) house of cards falling lower. Series creator Mike Kelley did produce a compelling cleaning soap in CBS' short-resided "Swingtown," and Phillip Noyce directed the pilot. Their resumes, however, bode better for "Revenge" compared to timeslot, an hour or so where ABC has battled starting new shows. Because even when you will find traces of "Desperate Average women" in "Revenge's" DNA, ABC's latest serial feels oh-so-last decade, which, mainly in the Hamptons, is all about as thematically stylish as putting on whitened after Labor Day.Camera, Chris Manley production designer, Devorah Herbert editor, Martin Nicholson music, Izler casting, Elizabeth Barnes, Corbin Bronson. 60 MIN. Contact John Lowry at john.lowry@variety.com

Brad Pitt Didn't Mean What He Said About Jennifer Aniston That Way

No good deed goes unpunished on the junket circuit, and thus Brad Pitt’s flicker of candor to Parade Magazine has landed the actor in a bit of a jam. Except, wait: You took it the wrong way. Or did you? I am so confused. “I spent the ’90s trying to hide out, trying to duck the full celebrity cacophony,” Pitt told Parade. “I started to get sick of myself sitting on a couch, holding a joint, hiding out. It started feeling pathetic. It became very clear to me that I was intent on trying to find a movie about an interesting life, but I wasn’t living an interesting life myself. I think that my marriage [to actress Jennifer Aniston] had something to do with it. Trying to pretend the marriage was something that it wasn’t.” Hoo boy. That prompted pundits to drag out Aniston’s 2005 quote Pitt’s missing “sensitivity chip” — itself tied to the context of the notorious Pitt/Jolie family-photo spread in W, published not too long after the couple’s dissolution. It also prompted THR to reach out to Pitt’s people, whose 300-horsepower damage-control machine you could already hear whirring into high gear from parts far and wide. “”It grieves me that this was interpreted this way,” he said in a statement. “Jen is an incredibly giving, loving and hilarious woman who remains my friend. It is an important relationship I value greatly. The point I was trying to make is not that Jen was dull, but that I was becoming dull to myself — and that, I am responsible for.” Whew! Now that that’s cleared up… Anyway, keep a steady supply of popcorn by the couch; this is totally going to go on for the rest of our lives. · Brad Pitt Is Finally ‘Satisfied’ [Parade] · Brad Pitt Backtracks on Moneyball Press Gaffe About Jennifer Aniston[THR]

Toronto 2011: Madonna on Her New Film 'W.E,' Critics and Marmite Sandwiches (Audio)

This afternoon, I had the great and -- if not unique -- rare pleasure of spending about 15 minutes one-on-one with Madonna, who is indisputably one of the world's most famous and influential people and one of its most successful and ambitious artists. Madonna has conquered the world of music -- singing, dancing, music videos, concerts, you name it -- and would be well within her rights, at the age of 53, to sit back and rest on her considerable laurels. But, ever the risk-taker and provocateur, she decided to make a film. Not just any film, but a film about King Edward VIII, whom much of history has dismissed as a Nazi sympathizer, and Wallis Simpson, the American divorcée for whom he abdicated the throne, and whom much of history has derided as a trollop and floozy. They were both depicted, as you may recall, in The King's Speech, last year's best picture Oscar-winner, and not in a particularly flattering way. Madonna, however, saw something different -- a woman that she could relate to, and a love story that she felt she had to share. So, with the complete understanding that her critics (who are outnumbered only by her loyal fans) would be sharpening their knives for her, she set to work. After an arduous 52-day shoot, the finished film W.E (as in Wallis and Edward) -- which she says might be her proudest accomplishment -- had its world premiere at the Venice Film Festival last week, screened for the press at the Toronto International Film Festival this morning, and will have its North American premiere in Toronto tonight. It's not a perfect film (pacing is a bit of an issue, and the Julie portion of its Julie & Julia structure is, as in that film itself, weaker than the Julia portion) and it's not going to be an easy sell ("It's not Hangover 2," Madonna joked during our chat), but the truth is that it's well acted (particularly by Andrea Riseborough as Simpson); visually beautiful (with terrific costumes, makeup, and cinematography) and aurally pleasing (its score sticks in your mind); and considerably better than I had been led to believe by its early reviews. Anyway, when Madonna welcomed me to her hotel suite for our interview, I half-jokingly confessed to her -- as you can hear for yourself below -- that I was uncertain of how to address her: I didn't feel right calling her by her first name, but I haven't ever heard anyone call her by her last name (Ciccone, for the record), so I was at a loss. "Everyone calls me 'M,'" she said, and we were off. Madonna Podcast From the Toronto Film Festival by TheHollywoodReporter Her childhood heroes/idols "I was a dancer, so Martha Graham was a big hero to me, because she basically took classical dance and turned it on its head -- took the foundation garments off of everybody, and toe shoes. She was considered a provocateur and a rebel because women were dancing in their bare feet. What a scandal! Not wearing bras? What a scandal! She single-handedly, kind of, created the modern dance movement." How her other work has served her as a filmmaker "Being a dancer has given me a background with a lot of discipline... All the shows that I've done -- I've put together -- I've worked with a director, but I've collaborated very closely with the costume designer, with the lighting designer, with the set designer, with the choreographer, and been very involved in every aspect and all the minutiae of putting on a show, so I think that's also helped prepare me for directing a film. And then, of course, being an actress, I've watched, and observed, and learned, you know, whether it's understanding about cameras, and lenses, or, you know, how directors talk to actors -- all of that stuff. I've had a good education.") How she came to know the story of Wallis Simpson and King Edward VIII "I first heard of the story when I was in high school -- I was just reading about history. I was like, 'Oh, that's interesting: an American woman from Baltimore... the King of England, you know, leaves the throne for her?' But I didn't focus on it. And then, when I moved to England -- when I first got married and moved there -- I found myself feeling like a foreigner; like, I needed to educate myself and get to know about English history. So, through lots of book reading, and trying to understand the monarchy, and English culture, and the class system -- which is non-existent in America -- I, you know, came across the story, and I was really intrigued by it." On strange connections that convinced her to make the movie "It was a combination of not just the story of the Duke and Duchess, but also understanding the auction -- the Sotheby's auction -- and how, curiously, the house [in which Wallis and Edward lived after he abdicated the throne] in the Bois de Boulogne [Paris] had been bought by Mohamed Al-Fayed, who is, sort of, a cultural figure in England, and his son [Dodi Fayed] was killed in a car accident with Princess Diana, who was, you know, the Princess of Wales, you know? So there's all these strange, connecting stories, and it just kept weaving its web around me, and finally I decided that I wanted to tell that story." On the personal bond that she feels with Wallis Simpson "I don't think it was so conscious when I first was attracted to the story, but after I shot the film and as I watching it. For instance, in the letter scene -- when Abbie's character goes to the Bois de Boulogne, and she's reading the letters, I thought, you know, 'I could have written that letter!' You know? Like, when she's talking about the press, and people being unfair, and things like that, and not being able to defend herself, and feeling helpless in that way. You know, I've had those moments in my life." Whether she ever considered starring in the film herself "Absolutely not. I do not resemble Wallis Simpson in any way, shape, or form." On the 52-day shoot for W.E "I needed about 70... It was a gnarly shoot, I have to say. We worked really long days; we went into overtime every day. My crew in England was extremely generous with me. I slept very little. You know, it was a big challenge and a very ambitious shoot because, you know, we moved around a lot -- it was not just shot in England; we went to France (I shot in Paris and the south of France); New York (Manhattan, Brooklyn)." On working with Abbie Cornish and Andrea Riseborough "Very pleasant. I got along really well with all my actors. And I like to create a family environment -- I've always done that with my shows and my tours. I like to spend time with the actors, giving them as much information as possible to help them with their characters; rehearsing; you know? Yeah, it's really important, spending time with them, and feeling a connection to them, and making them feel safe with me so that they can be free to ask questions, or, you know, express themselves in any way, shape, or form. You know, both of the women had to play a lot of very emotional scenes, and they needed to feel safe." On taking on new challenges, even at this point in her career "The idea isn't that once I do something well I have to move on and do something else. I mean, I'd like to make more films. I really enjoy the process. As exhausting and daunting as it was -- physically, emotionally, in every way you could imagine -- I did -- I do -- love the art of film, and I would love to have the ability and the chance to make another one. The same goes with music and everything I do. I don't ever look at what I have done and say, 'Okay, I've done enough' or 'I've done it all and I have nothing else to say.' You know, as a human being, I continue to change and grow, so I always have new things to say." Whether she thinks her movie would be judged differently if people didn't know she was its director "Absolutely. They would just focus on the film and not the filmmaker, which is what they do with everyone else's movies." On the onset of fame/celebrity and how she dealt with it "I think it's shocking to everyone. I don't think anyone can be prepared for it... In the grand scheme of things, it's [a burden and a plus] in equal measures, I would say. It's as great as it is not great." On the loss of anonymity and the ability to live a typical life if/when she wishes "I mean, I walk around my neighborhood in Manhattan and people don't bother me; go to local restaurants and have dinner. I was on holiday in the south of France, and managed to sneak out with my friends, and just drive around the Riviera, and get a little place on the beach with a baseball cap on -- nobody bothered me -- and ate an ice cream, and read a book, and felt like everybody else." On what she -- like Edward VIII -- would be willing to give up everything for "I would do anything for my children. For sure. Except have a marmite sandwich -- my daughter's insistent that I eat one, but I won't! Vile..." On whether she might ever stop working/retire "I don't know. I don't have a crystal ball. I think I'll always be productive, in one way or another, but I don't know in which way. I mean, I might not be still working in the entertainment business, but I'll always want to be productive in some way." On her proudest artistic accomplishment "Well, I'm extremely proud of this film -- I put a lot into it and I'm proud of it -- and I'm proud of my performance in the film Evita (1996). Just to name two... I can't say which record I like better or which song I think is better... that's not fair." Toronto International Film Festival Madonna

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TBS Orders Comedy Pilot From Conan OBriens Company

TBS is expanding its relationship with late-night host Conan O’Brien to primetime. The cable network has ordered a half-hour comedy pilot from O’Brien’s Warner Bros. TV-based production company Conaco. WBTV’s cable division Warner Horizon Television will produce. The multi-camera sitcom, written by Ben Wexler (Still Standing), Ross Novie (Secret Girlfriend) and Jay Rondot (Secret Girlfriend), centers on a family man who quits his day job and returns to the neighborhood where he grew up. There, he reunites with his former best friend. Wexler, Novie and Rondot are executive producing with O’Brien, David Kissinger and Jeff Ross. Wexler will serve as the showrunner for the untitled pilot, which is slated to begin shooting this year. After veering into developing hourlong comedies for the past 2 years, TBS is returning to the half-hour comedy genre with two multi-camera pilots ordered over the past 2 weeks — the O’Brien-produced buddy sitcom and the recently ordered Men At Work, created by Breckin Meyer and produced by Jamie Tarses.

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Bethenny Frankel Responds To Being Top-Producing Celebrity Mother

La, Calif. -- Bethenny Frankel has outshine Jennifer Aniston and supermodel Gisele Bundchen since the top-producing celebrity mother, according to Forbes magazine. The reality star and Skinny Girl apparently needed in $55 million in earnings inside the May 2010 - May 2011 period, several she wouldnt quite confirm when she spoke to get into Hollywood on Friday. You will discover plenty of amounts being tossed available, Bethenny told Access Hollywoods Take advantage of Robinson. Being perfectly honest, I'm not exceptional at math which i dont really have a look inside my checking account much. Maybe she doesn't check it much, nevertheless the Bravo star does know very well what she's and recommended playboy wasnt remote. Forbes usually can get things no less than close to right. I'm speaking about, they are Forbes, she mentioned. Gisele and choose Judy Sheindlin tied for second on Forbes list with $45 million, author Danielle Steel needed fourth with $35 million and tied in fifth place were Jennifer Aniston and Nicole Kidman with $Thirty Dollars million each. Bethenny may have assigned Angelina, but she thinks the lithe brunette includes a few other perks define due to not making the most effective place. Look, shes sleeping with Kaira Pitt, Bethenny jeered. You know what happens I'm speaking about? She wins! Copyright 2011 by NBC Universal, Corporation. All rights reserved.These elements is probably not launched, broadcast, rewritten or redistributed.

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Habibi ((Habibi Rasak Kharban))

An S.Y. Films, Dubai Entertainment and Media Organization production, in association with Enjaaz, Idioms Film. (International sales: eOne Films Intl., Toronto.) Produced by Susan Youssef. Executive producers, Man Kit Lam, Derek Yip. Directed, written by Susan Youssef.With: Kais Nashif, Maisa Abdelhadi, Yussef Abu-Warda, Amer Khalil, Najwa Mubarki, Jihad Al-Khattib, Adham Nu'man, Ward Shwekh, Nidaa Abu Shamaa, Rajaie Khatib, Basel Husseini. (Arabic dialogue)A thwarted love affair plays out against the Israeli occupation of Gaza in "Habibi," tyro helmer Susan Youssef's low-budget romancer with more heart than style. Youssef appropriates the verse of seventh century poet Qays ibn-al Mulawwah for the male protag, a student from the refugee camps whose class and relaxed religious affiliations make him persona non grata to his g.f.'s strict family. Zero chemistry between the couple, harsh digital quality and a clumsy handling of drama will relegate the pic to fests looking to showcase Arab women directors. In the West Bank, Layla (Maisa Abdelhadi) and Qays (Kais Nashif, "Paradise Now") are intellectual and spiritual soulmates, but when the Israelis revoke their student visas, the two return to Gaza. Layla's traditional religious parents would rather marry her off to a successful suit than accept the proposal of a poet working a construction job, yet despite Layla's desire to please her family, she can't stay away from Qays. Side plots are poorly handled and over-obvious, such as the recruitment by Hamas agents of Layla's brother Walid (Jihad Al-Khattib), and Youssef is unskilled in directing action scenes. Digital lensing lacks depth.Camera (color, HD), P. J. Raval; editors, Youssef, Man Kit Lam; music, Menno Cruijsen; production designer, Bashar Hassouneh; art director, Man Kit Lam; costume designer, Hamada Atallah. Reviewed at Venice Film Festival (Venice Days), Sept. 4, 2011 (Also in Toronto Film Festival -- Discovery.) Running time: 78 MIN. Contact the Variety newsroom at news@variety.com