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Reese Witherspoon Told Arresting Cop She Didn’t Believe He was A Real Police Officer

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Thanks to the Smoking Gun website, we have the arrest report for Reese Witherspoon (real name Laura Jean) and husband (and agent) Jim Toth. They were driving a Ford Fusion, and driving it on the double yellow line into oncoming traffic. It’s a good thing they were pulled over by the cop. Reese did ask if the cop knew who she was, but even better, told him she didn’t believe he was a real police officer. She was handcuffed. What were these two thinking? Witherspoon has two kids with Ryan Philippe, and one with Toth. Why didn’t they have a driver? And why were they in a Ford Fusion? And why did they get into it so drunk?

http://www.thesmokinggun.com/file/reese-witherspoon-bust?page=0

Justin Bieber Snubbed in His Own Country at Music Awards

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It’s not like anyone thinks Justin Bieber’s music is any good aside from screaming teens. Even the people who pick the Juno Awards in Canada have snubbed him. Last night, Bieber lost both album and best song to Carly Rae Jepsen insta-classic “Call My Maybe” and the album it came from. Ironically, it was Bieber and his nomadic manager Scooter Braun who rescued Jepsen from obscurity and put their music out in the U.S. And while the charms of Jepsen’s album are escapable they were obviously the lesser to two evils compared with “Believe.” And let’s face it, “Call Me Maybe” was the record of 2012. Canada is a strange place but I salute them. They also honored Leonard Cohen as Artist of the Year. Shoulda been of all time. But this is good enough for now. Meanwhile, the Bieber pr machine is stoking a reunion romance with Selena Gomez. By coincidence, she’s trying to sell tour tickets. So is Beebs. But it’s just a coincidence.

Viva Canada!

http://junoawards.ca/nominees-winners/

Whoopi Goldberg on Moms Mabley: “She Was Clearly Out and Didn’t Give a Sh*t

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“She was a female queer comedian and nobody knew she was queer but she was funny so it doesn’t matter,” Goldberg told me Saturday night after the screening of the world premiere of her directing debut, “Moms Mabley: I Got Somethin’ to Tell You,” at the Tribeca Film Festival. “If you’re gay or straight, you can do whatever is universally funny. And I think to me, many, many of her jokes about old men not having anything for her is pretty clear, especially after making this picture. Oh, I get it now.”

Goldberg financed the film starting with $75,000 on Kickstarter. The hardest part of making the documentary she said, besides raising the money, was finding the material. There are recordings but “very little of her performances except on the TV shows that we remember from the 60’s and a couple of movie things that she did, but there’s not a lot.”

Goldberg’s biggest gift in the documentary is to remind audiences just how hysterically funny Mabley was. Mabley was known as “Moms.” She wore a frumpy dress and had a gravelly, deep voice and an elastic face. She was a toothless woman whose comedy had a real satiric bite and a subtle if resounding political message.

Moms began as a vaudeville star on the Chitlin’ Circuit and travelled with other iconic performers. She worked for nearly half a century and at the height of her career earned $10,000 a week. The documentary, which has already been snapped up by HBO, provides some rare footage of Mabley’s performances.  Mabley’s story is told through rare photographs, documents and interviews with comedians and entertainers, including Harry Belafonte, Sidney Poiter, Quincy Jones, Bill Cosby, Arsenio Hall, Eddie Murphy, Joan Rivers, Kathy Griffin, Jerry Stiller and Anne Meara.

On the red carpet before the screening, Goldberg said, “We celebrate all the other firsts. Why haven’t we celebrated the first stand up comedian who was a woman and had been doing it since 1928?”

Goldberg told an African-American female reporter on the red carpet, “More than anything she was the first female, the first stand-up comic. And look at you! You’re why Moms did what she did, so you could be doing what you do.”

Whoopi told me: “I needed to refresh people about who she was before I did a one-woman show. Then I discovered there was more that needed to be done and eventually someone will do a biopic. It won’t be me but somebody will do it.”

Early in her career, Goldberg did a one-woman show about Mabley. “I was going to do Moms again for the stage,” she said. “This was about 10 years ago, and I didn’t do it and I kept saying I was going to do it until I got to the point where I realized most people wouldn’t know who she was now. And I thought if I could reintroduce her to people maybe that would facilitate me getting on stage to do it.”

So she’s bringing the show to Broadway? “Eventually I’ll do it yeah.”

The premiere brought out an interesting crowd, including Mira Sorvino, Ali Wentworth and husband George Stephanopoulos, comedian Caroline Rhea, Billy Mitchell (Mr. Apollo), and Sheila Nevins, the president of HBO documentary films.

The image in the film that will knock your socks off is the photograph of Mabley dressed as a man. After Moms finished her performance as an elderly, dowdy woman, she took off her costume and changed into a silk shirt, tailored slacks and Italian shoes and slicked back her hair and had teeth. Jackie “Moms” Mabley became Mr. Jackie.

During the Q&A, Rhea asked if there was more documentation of Mabley as a gay woman.

“What we have there is everything. That’s it, and the fact that we even found this information that we could prove that she was a gay woman. It’s like we couldn’t make this a bio because there’s just not enough information. They were not filming or doing any of those archiving,” back then. “These were black comics and nobody gave a shit, but the fact that there’s that photograph that says season’s greetings,” the photograph of Mabley dressed as man.

“She wasn’t hiding anything and nobody talked about it,” Goldberg said. “When you read about Moms, they say it is reported that she might have been (gay), because nobody knows about this, nobody’s seen this stuff, so that was the thing that sort of knocked me out. That’s why there’s not more. You don’t get a lot of information. It’s just not there, so we were able to piece it together.”

As for Whoopi’s favorite Mabley joke, Whoopi did a spot on imitation of the famous Mabley voice and joke, “Two Old Women walking down the street. One turns to the other one and says, “I smell hair burning.”  The Other one says, “You walkin too fast.”

Goldberg was asked about the clip that spoke to her from the moment she saw it and without hesitating she said, “The one that I loved, love, love, is she and Kris Kristofferson because he’s in love with her.” He’s walking her out on the stage as a presenter at the 1974 Grammy Awards. “ She didn’t’ care where she was she would pull those teeth out, and to me, this freedom to be yourself, for seventy seven years is the highlight of life to me because, you know, it’s okay to be gay, it’s okay to be individual, it’s okay to have a point of view. She made me realize that whatever you did you had to stand on your own two feet and know who you are.”

What was the most surprising thing Goldberg learned about Mabley, someone asked.

“Hello?” The audience laughed. “ No, No, that was the most surprising thing I learned. Did you see how she was dressed? We’re talking about a time when this did not happen. Gay folks have been with us since the beginning of time, not always out and about. Moms was clearly out and about and didn’t give a shit, and no one else did either. That was the thing that knocked me out.”

 

 

First Theater Noms: Tom Hanks is In, Alec Baldwin and Scarlett Johansson Are Not

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The first important theater nominations are out, from the hard working Outer Critics Circle. They cover Broadway and off Broadway, so it’s pretty comprehensive. The OCC didn’t nominate Hollywood stars Alec Baldwin and Scarlett Johansson, the revival of Breakfast at Tiffany’s, or Motown. But they were fairly discerning in everything. I’m glad to see they liked Tom Hanks and “Lucky Guy,” really went for “Vanya Sonia,” and nominated a mother and daughter– Vanessa Redgrave and Joely Richardson– each for Best Actress in a Play. I was also happy to see two of my favorite performers, Keala Settle (Hands on a Hard Body) and Richard Kind (The Big Knife) got nods. The awards will be handed out May 23rd at Sardi’s.
Outstanding New Broadway Play
Grace
Lucky Guy
The Nance
The Testament of Mary
Vanya and Sonia and Masha and Spike

Outstanding New Broadway Musical
Chaplin
A Christmas Story, The Musical
Hands on a Hardbody
Kinky Boots
Matilda

Outstanding New Off-Broadway Play
Bad Jews
Cock
My Name is Asher Lev
Really Really
The Whale

Outstanding New Off-Broadway Musical
February House
Dogfight
Giant
Here Lies Love
Murder Ballad

Outstanding Book of a Musical (Broadway or Off-Broadway)
Cinderella
Chaplin
Dogfight
Kinky Boots
Matilda the Musical

Outstanding New Score (Broadway or Off-Broadway)
Chaplin
Dogfight
Hands on a Hardbody
Here Lies Love
Kinky Boots

Outstanding Revival of a Play (Broadway or Off-Broadway)
Golden Boy
Orphans
The Piano Lesson
The Trip to Bountiful
Who’s Afraid of Virginia Woolf?

Outstanding Revival of a Musical (Broadway or Off-Broadway)
Annie
Cinderella
The Mystery of Edwin Drood
Passion
Pippin

Outstanding Director of a Play
Pam MacKinnon Who’s Afraid of Virginia Woolf?
Nicholas Martin Vanya and Sonia and Masha and Spike
Jack O’Brien The Nance
Bartlett Sher Golden Boy
Michael Wilson The Trip to Bountiful

Outstanding Director of a Musical
Warren Carlyle Chaplin
Scott Ellis The Mystery of Edwin Drood
Jerry Mitchell Kinky Boots
Diane Paulus Pippin
Alex Timbers Here Lies Love

Outstanding Choreographer
Warren Carlyle Chaplin
Peter Darling Matilda the Musical
Jerry Mitchell Kinky Boots
Josh Rhodes Cinderella
Chet Walker Pippin

Outstanding Set Design (Play or Musical)
John Lee Beatty The Nance
Rob Howell Matilda the Musical
David Korins Here Lies Love
Scott Pask Pippin
Michael Yeargan Golden Boy

Outstanding Costume Design (Play or Musical)
Amy Clark & Martin Pakledinaz Chaplin
Gregg Barnes Kinky Boots
Dominique Lemieux Pippin
William Ivey Long Cinderella
William Ivey Long The Mystery of Edwin Drood

Outstanding Lighting Design (Play or Musical)
Ken Billington Chaplin
Paul Gallo Dogfight
Donald Holder Golden Boy
Kenneth Posner Cinderella
Kenneth Posner Pippin

Outstanding Actor in a Play
Tom Hanks Lucky Guy
Shuler Hensley The Whale
Nathan Lane The Nance
Tracy Letts Who’s Afraid of Virginia Woolf?
David Hyde Pierce Vanya and Sonia and Masha and Spike

Outstanding Actress in a Play
Tracee Chimo Bad Jews
Amy Morton Who’s Afraid of Virginia Woolf?
Vanessa Redgrave The Revisionist
Joely Richardson Ivanov
Cicely Tyson The Trip to Bountiful

Outstanding Actor in a Musical
Bertie Carvel Matilda the Musical
Santino Fontana Cinderella
Rob McClure Chaplin
Billy Porter Kinky Boots
Matthew James Thomas Pippin

Outstanding Actress in a Musical
Lilla Crawford Annie
Valisia LeKae Motown: The Musical
Lindsay Mendez Dogfight
Patina Miller Pippin
Laura Osnes Cinderella

Outstanding Featured Actor in a Play
Danny Burstein Golden Boy
Richard Kind The Big Knife
Jonny Orsini The Nance
Tony Shalhoub Golden Boy
Tom Sturridge Orphans

Outstanding Featured Actress in a Play
Cady Huffman The Nance
Judith Ivey The Heiress
Judith Light The Assembled Parties
Kristine Nielsen Vanya and Sonia and Masha and Spike
Vanessa Williams The Trip to Bountiful

Outstanding Featured Actor in a Musical
Will Chase The Mystery of Edwin Drood
Dan Lauria A Christmas Story, The Musical
Raymond Luke Motown: The Musical
Terrence Mann Pippin
Daniel Stewart Sherman Kinky Boots

Outstanding Featured Actress in a Musical
Annaleigh Ashford Kinky Boots
Victoria Clark Cinderella
Charlotte d’Amboise Pippin
Andrea Martin Pippin
Keala Settle Hands on a Hardbody

Outstanding Solo Performance
Bette Midler I’ll Eat You Last
Martin Moran All the Rage
Fiona Shaw The Testament of Mary
Holland Taylor Ann
Michael Urie Buyer & Cellar

John Gassner Award (Presented for an American play, preferably by a new playwright)
Ayad Akhtar Disgraced
Paul Downs Colaizzo Really Really
Joshua Harmon Bad Jews
Samuel D. Hunter The Whale
Aaron Posner My Name is Asher Lev

Special Achievement Award Irish Repertory Theatre Charlotte Moore, artistic director and Ciarán O’Reilly, producing director in recognition of 25 years of producing outstanding theatre.

*The Nominating Committee attended all of this season’s Broadway productions prior to the OCC Award cutoff date. The Other Place was considered and nominated last season when it was produced Off-Broadway.

Celebrating its 63rd season of bestowing awards of excellence in the field of theatre, the Outer Critics Circle’s members are affiliated with more than 90 newspapers, magazines, radio and television stations, Internet and theatre publications in America and abroad.

Just as Scooped Here: Sharon Stone Allowed Back to Cannes amFAR Fundraiser

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I told you, kids. Sharon Stone is returning to amFAR’s Cinema in Cannes event in May. amFAR just announced what I told you last week: they’re letting her come back. I hope they let her conduct the auction. (I won’t know because they banned me for ever three years ago when I reported on her ex communication.) Anyway, Sharon’s back along with Jessica Chastain, Janet Jackson, Milla Jovovich, Naomi Campbell and Harvey Weinstein, of course. It all takes place at the Hotel du Cap’s Eden Roc, in a big black tent, on May 23rd. One of this year’s sponsors is the mysterious Swiss bank Julius Baer. You can about them here: http://en.wikipedia.org/wiki/Bank_Julius_Baer_vs._WikiLeaks#Negative_publicity_for_bank

Cannes Coup: Screen Legend Kim Novak Will Celebrate Hitchcock’s “Vertigo”

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The 2013 Cannes Film Festival just got really interesting. Guess who’s coming to dinner? Kim Novak. The siren star of the screen from the 1950s is a famous Hollywood recluse. Since she was on TV in the 1980s in “Falcon Crest,” Novak has been AWOL. She turns down all requests for interviews. But last year, she did turn up. oddly, complaining that music from “The Artist” was lifted from Alfred Hitchcock’s “Vertigo,” the most famous movie she starred in. Luckily, no one paid attention to that. Anyway, she’s coming to Cannes to celebrate “Vertigo.” Kim Novak and Jerry Lewis each in Cannes at the same time? Sacre bleu! PS Novak will attend the closing ceremonies. Very smart way to guarantee people stay til the end of the festival!

Kim Novak, Guest of Honour at the 66th Festival de Cannes

To mark the restoration of one of the masterpieces of world cinema, Alfred Hitchcock’s Vertigo, the Festival de Cannes has invited its heroine, Kim Novak, to grace the event with her presence.

Novak will attend the screening of Vertigo, filmed in 1958, which will be shown in its restored form as part of Cannes Classics.

She will also take part in the closing ceremony for the 66th Festival de Cannes where she will award one of the Prizes on Sunday 26 May 2013.

Novak first attended the Festival in 1959 for the presentation of Middle of the Night by Delbert Mann (Palme d’or 1955 for Marty).

Her most memorable roles included the prostitute with a big heart in Kiss Me, Stupid by Billy Wilder, the witch in Richard Quine’s Bell Book and Candle and the adulteress in another Quine film, Strangers When We Meet. But Kim Novak’s greatest performance was surely as the disturbing  heroine of Vertigo, 1958 – Hitchock’s finest film, which he described as “a love story with a strange atmosphere.”

Of her role, Kim Novak said, “What was interesting was that the scene reflected what I was going through at the time: it was the story of a woman who was forced to be someone she wasn’t.” Unwilling to accept the iron rule of the studios, she left Hollywood prematurely in order to devote herself to painting.

Streisand, Tony Bennett, Bill Clinton, Mad Men, Broadway: New York on Hyper Drive Monday Night

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This is it. This is the week feared by everyone. The last week of the Broadway Tony season overlaps with the Tribeca Film Festival. Plus, other movies are opening, celebrities are all over town, and there’s a major event at Lincoln Center tonight. Barbra Streisand gets the Chaplin Award from the Film Society tonight at Avery Fisher Hall.  Former president and rock star Bill Clinton is presenting her the award. Both Tony Bennett and Liza Minnelli are set to perform. It’s going to be wild. At the same time, there’s an event cross town for “Mad Men” from BAFTA (or batty, depending on how you read it) New York with most of the cast including Jon Hamm, John Slattery and Christina Hendricks, plus Matthew Weiner. On Broadway, Scott Rudin and Jean Doumanian are opening “Testament of Mary” with Fiona Shaw, said to be just great. The advance word is sensational. Plus, I’ve heard there’s a premiere for Mira Nair’s “The Reluctant Fundamentalist” somewhere Monday night.  Yes, April 22nd is Earth Day, but a lot of pollution will be created as limos criss-cross midtown all night. Too many choices!

Mad Men Rocks An All Star Episode, But with One Little Mistake

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“Mad Men” was so good tonight that I hate to point out the one big mistake at the start of the episode. Joan — who has many talents– made a reservation at a restaurant that wouldn’t exist for six more years. There was no Le Cirque in 1968. Sirio Maccione opened his doors in 1974.  If Joan were aiming for a four star French restaurant in 1968 she could have chosen Le Pavillion, Quo Vadis, The Colony, or La Caravelle. They could also have gone to Lutece, which was the pre-eminent French restaurant of the time. But no Le Cirque, which really didn’t reach its zenith anyway until the 1980s, and was more of a lunch place than dinner.

But that’s quibbling. In “To Have and To Hold” we went to the Electric Circus, smoked dope, visited a soap opera (that was far too racy for 1968). We also saw a an absolutely lovely tribute to the great legend (and my old friend) the late Pierre Cossette. Pierre was known for producing sports-entertainment shows like the one mentioned in the episode. (But I don’t this one happened, and Pierre didn’t produce those shows until the 1970s.) Don and his team came up with “Pass the Heinz,” which of course was used later as the tag line for the ketchup.

But “To Have and to Hold” was all about sex. And nineteen sixty eight was all about sex. The soap producer (Ted McGinley, who does not age) and his actress wife are trying to find swap partners. Megan is having an affair on the soap. Don’s having one with the neighbor (Linda Cardellini, still knocking out it out of the ballpark), Joan and her friend are experimenting with picking up guys at the Electric Circus.

The episode was jam packed with cultural references. It was also a relief to be back in the ad agency, where the decorations have gone from interesting to mid-century modern to garish ranges of orange. Also, the agency is starting to splinter. Harry’s declaration of independence seems to portend a change. And Peggy with her rival team– Peggy using Don’s words during the Heinz pitch–  was excellent.

And that scene, of Don listening at the door, I think is indicative of where “Mad Men” is going. Peggy is the future, Don is the past. When Don’s lover, Sylvia, says she prays he finds peace. you know he’s not going to. He’s a dinosaur, the end of his era is coming with every episode. He will not make it into the 1970s, that’s for sure. In the meantime, we’re happy to follow him to the end of his journey.

An  A plus episode, a little lighter than the first three (or two), and far more involving.

 

Tom Cruise “Oblivion”: His Highest Official Opening Weekend Since 2006

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Tom Cruise is no longer living in box office oblivion. Despite so so reviews and a ComScore of B minus, Cruise had his biggest opening weekend with “Olivion” since “Mission Impossible III” in 2006. “Oblivion” took oin $38.1 million in the US. In Europe and around the world the sci-fi adventure is also a hit.

The foreign total is $112 million so far, bring the total sum to $150 million. Bad reviews didn’t seem to hurt the film in which Cruise doesn’t have much to say. As many have noted, he’s actually playing a live action version of Wall E. But that’s what works abroad in non English speaking countries. And true enough, in “Oblivion” the special effects are the star.

But hey: whatever works. And I’ll even give Cruise props. “Oblivion” negates his last four or five movies including the terrible “Jack Reacher” and “Knight and Day,” as well as the truly hilarious “Valkyrie.”

Tribeca: Clark Gregg’s “Trust Me” Is A Modern Film Noir About Hollywood

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I do love it when smart Hollywood actors get a chance to make a film about life in Tinseltown. It’s a little “inside” but always terribly amusing because you know they’ve got so much pent up anger. Not so much for Clark Gregg, who’s redirected the anger into a little gem of a film. Gregg is best known as the once and present husband on “The New Adventures of Old Christine.” I knew him from playing a sharp transvestite years and years ago in “The Adventures of Sebastian Cole.” Now he’s made a witty little satire about Hollywood that’s part Raymond Chandler and just laugh out loud funny.

“Trust Me” premiered last night at Tribeca with lots of interesting folks in the audience like Michael J. Fox and Tracy Pollard. Gregg wrote and directed the film, and stars in it along with Amanda Peet, William H. Macy, Felicity Huffman, Paul Sparks and Allison Janney. Saxon Sharbino is kind of amazing as a precocious plus 13 year old who could be the next Lindsay Lohan. (She’s a find, like Shailene Woodley or a Fanning.)

Sam Rockwell is executive producer and also has a funny secondary role as a weasely children’s agent in Hollywood, the nemesis of Gregg’s well meaning, long suffering sort of “Broadway Danny Rose.”

The conceit is that Gregg’s Howard is a former child actor, never made good, who is now a children’s talent agent. But all his clients leave him for Rockwell. You know that Howard just won’t cross the line to become as icky as Rockwell’s Aldo. And so, as he explains to Peet, he’s just been “wandering around this place” for 35 years “like a ghost.” When he has the chance to represent a fast rising 13 year old girl, it looks like he’s finally made it. But — oh, I don’t want to give it away.

Gregg, if you’ve seen him on “Christine” or anywhere else, is extremely verbal, very literate. He loves to talk. Howard does a lot of talking. But he’s always interesting, and so are the characters Gregg has placed around him. And we do get to see some of that Hollywood underbelly– wanna bes and has beens living in motel like apartment complexes, backstage fighting among agents and managers, etc. I’m sure Felicity Huffman’s production company chief is based on someone real. She reminded me of about 20 different barracudas. Well played.