It’s March 1st, do you know when “Mad Men” is coming back? No? Neither does anyone else. As of this weekend there has been no movement in the negotiations between Lions Gate, AMC, and show creator Matthew Weiner. Over the weekend, I ran into Jon Hamm, the nominal star of the show. He says nothing’s happened. He and girlfriend (accomplished writer director) Jennifer Westfeldt just wrapped their indie film, “Friends with Kids,” and now head off to edit it. I saw Jared Harris at SoHo House one night. Like most of the “Mad Men” actors, he’s trapped. He can’t really start anything because the show could come back at any moment. Indeed, the way Weiner works, if “Mad Men” were all set to begin pre-production today, Weiner wouldn’t be ready to shoot until June 1st. At least. Maybe July 1st. We wouldn’t see new shows until September. Last time, “Mad Men” debuted on July 25th. Certainly AMC’s strength is to debut in summer, away from the new fall season on the broadcast networks. But now that hope is dashed. By procrastinating so long, they’ve pushed “Mad Men” to a late fall run at best. Get with it, AMC, Lions Gate! Wrap this up. There’s nothing Weiner could want than any other star show runner has ever gotten. This stalling is only making the companies and the network look bad, and not attractive to other TV producers.
Halle Berry Loves Women (So Do We)
So much to catch up on from Oscar weekend besides the actual Oscars. Our Leah Sydney reports that the Women in Film event, held on rain drenched Friday night at SoHo House, scared up Amy Adams, Melissa Leo, Jackie Weaver, Hailee Steinfeld and David O. Russell. Halle Berry was honored; producer Cathy Shulman, president of Women in Film, spoke to Leah.
“We are still dealing with the situation of that of the top 100 films annually I think now four years running we’ve only got about 7 % of women at best, working in the roles of writers, directors and producers and less in other areas. It remains a problem. Since 1998 we haven’t increased the numbers, we’ve actually decreased them.I think the best way to solve it is to train and instruct women as they’re coming into the media business as to survival skills in the business. And also to really work to educate them that this is not just show, this is show business. There is a very solid business aspect to the jobs. It’s important to understand the context of how the movies are working and how they sell, etc. “
So it’s still a Good Old Boys Network?
Cathy answered:
“I see more proliferation actually in the executive ranks of women. I wouldn’t say in the executive side that’s it’s only it is a good old boys network. What’s really shocking even with executives in high level positions within the studios, we’re not seeing an increase an increase of the hiring of women from the creative side. I would like to see a more concerted, focused effort in hiring women into jobs. Only if the women are prepared and ready and appropriate for those jobs. The way we can focus on making women ready is to teach them to the necessary skills. To work on the kind of genres that work in the business. To steer away from a tendency to work on personal and particular stories which often times don’t have a wide distribution. It’s hard. If you’re making a movie of an experience that only happens rarely-it’s harder..If it’s a four quadrant movie, a universal theme, people all over the world can relate to it.”
Halle then told the crowd, “ I love women, I love supporting them, I do whatever I can to be a part of it.” She didn’t talk to the press otherwise, but after all, she’s got a baby at home.
Elton John: Free Show in NYC for Tribeca Film Fest Opening
Elton John is coming to Tribeca. He’s going to play a free show with Leon Russell in Tribeca on April 20th to launch the Tribeca Film Festival. The concert will follow an opening night screening of Cameron Crowe‘s documentary, “The Union,” about Elton and Leon’s album collaboration of the same name. Who better to have made such a doc? As I told you when Elton and Leon played here at the Beacon last fall, Crowe was shooting his movie back then. “The Union” is an amazing album that came out after the Grammy deadline was over. But it’s my favorite record of 2010 by far. Crowe, of course, has a long association with Elton John. He covered him when we were in high school back in the 1970s, for a magazine called Rolling Stone. (It’s different than the one that comes out now.) And in Crowe’s wonderful movie, “Almost Famous,” a group of characters memorably sings along to Elton’s “Tiny Dancer,” one of the most timeless scenes in all of moviedom. That April 20th show will follow an April 14th show, by the way, where Sir Elton and guests will be performing at the Pink Ball for breast cancer research. It does sound like the 10th annual Tribeca Film Festival is going to be great if this is their opening night!
PS If you don’t have “The Union” CD, you must get it. The song “If It Wasn’t for Bad” has my favorite line of the year in it: “If it wasn’t for me you’d be happy.” That says it all!
Sony Music Gets Doug Morris July 1st: Reported Here Feb. 11th
Doug Morris will become head of Sony Music on July 1st, it was announced today. I told you this in a column on February 11th. Morris has had an unbelievably successful run at Universal Music Group. The feisty 72 year old was going to retire and had passed the baton to Lucien Grange. But Sony lacked a chief following the departure of Rolf Schmidt Holz.
Now Doug will come in and focus Columbia and Epic Records. Expect a lot of housecleaning, both with staff and artists. One house that’s in order: Clive Davis’s. Clive is 78, which means Sony will now have 150 combined years of brilliant music making to lead them. Clive’s team, with Peter Edge, can pull rabbits out of the hat. And they also have Tom Corson and Richard Palmese, two great record execs who still care about the industry.
Sony’s in a good position, too, what with “Glee” and “X Factor,” not to mention lots of veterans from Springsteen to Streisand. Morris may actually be able to figure out how to exploit the Michael Jackson catalog and all future releases. (Let him tangle with Jackson co-executor John McClain, who I believe contributed to the “Michael” album’s disappointing launch.) They also have the Number 1 album of the week with Adele’s “21.” It sold an impressive 320,000 copies.
Now comes the fun stuff: today, Sony’s RCA chief Barry Weiss leaves for Universal, in a round robin of exec chair changing. Morris could now bring LA Reid over–who knows? Stranger things have happened. Reid could revamp RCA out of its moribundity. Morris also has Simon Cowell to play with, because of “X Factor.”
PS Hopefully all these changes won’t inspire multi million dollar redecorating at the respective companies. Gentlemen, it’s the fodder of gossip columns. Spend the money on the music!
Charlie Sheen’s Kids Removed from House–Thank Goodness
Charlie Sheen‘s ex wife, Brooke Mueller, had her two small sons removed from Sheen’s home last night. For some reason, Mueller didn’t think it was reasonable for the boys, not yet two years old, to be exposed to Charlie’s porn “goddesses,” his media parade, and admitted drug abuse. Mueller, who is trying to gain her own sobriety, now has the kids under her care with her mother and a caretaker. Sheen, meanwhile, was welcomed once again onto the Today show in what can only be described as an exploitation by the once sane news program. The Today Show always prided itself on being part of NBC News, and not entertainment. But what’s going on now is shameful. Jeff Rossen sat with Sheen and his lawyer in garden chairs at the foot of Sheen’s property at 4am this morning. The resulting 14 minute interview was simply another airing of Sheen’s crazy views with no real questions and no purpose other than to score ratings. J. Fred Muggs must be pawing in his grave. Is this what we’ve really come to? The Today Show should have better judgment than this. And Sheen looks–physically–worse and worse.
Indie Spirit Awards: Nicole Kidman, Natalie Portman, James Franco
Hey–with all the griping about the Oscarcast, let’s not lose sight of something: James Franco won Best Actor for “127 Hours.” That’s no small achievement. Natalie Portman won the Indie Spirits and the Oscar– a rarity. When Portman won, I was over with Nicole Kidman and Keith Urban. Nicole clapped the loudest for Natalie–she was very pleased. The Indie Spirits were fun, but an odd affair this year for many reasons. One was the weather: frigid on the beach. Bright blue skies but windy and cold.
The show’s producer made a big mistake, too, taping the show in real time with commercial breaks. With every break there was more attrition. No one sat down. Everyone roamed around. By the end of the show, a third of the tent was empty–people left because of the weather or because they could, frankly. Next year, no commercials. And IFC has to show it live, which scares the audience into behaving.
There was a nice win for Best Screenplay for Lisa Cholodenko and Stuart Beattie for “The Kids Are All Right.” Also, Nicole Holofcener‘s “Please Give,” one of my favorite movies of the year, got the Robert Altman Award. Most of the cast was there including Ann Guilbert, who once starred on “The Dick van Dyke Show” as Millie Halper. I wanted to meet her, but she left immediately after the presentation. Holofcener told me, “She’s tired.”
By the way, there was one strange moment. For fun, instead of doing “In Memoriam,” the writers tried a sketch called “Who Will Be Dead Next Year?” They chose random people from the audience, including Aron Ralston, who did almost actually die–and lost a limb. Not in good taste, really.
The main thing, though, is that the show was back on the beach, in the tent. And maybe next year the weather will be normal. PS Funny scene: Jane Lynch arrived, got her gift bag, and left immediately. She didn’t stay for the show. She told me later: “I wasn’t invited. But I do endorsements for LG, and I wanted some of the stuff in the bag.” She’s a practical girl, that Jane!
Charlie Sheen Pleads “Poverty”– Where’s The Millions He’s Been Paid?
I think it’s possible that Charlie Sheen has worn out the media. He’s done it all, from Piers Morgan to the Today show to minor things and Howard Stern. Everyone took him; he was a great “get.” It didn’t matter that he was entirely crazy, ranting, making no sense. Now Charlie’s taken to Twitter, where he’s picked up 500,000 followers in one day. And you wonder how Scientology does it. They should hire him! Meanwhile, the gist of Sheen’s complaint seems to be that he has no money.
This is utterly hilarious in light of how “regular” people are struggling right now in this economy. Sheen makes $1.2 million per episode of “Two and A Half Men.” He’s completed sixteen episodes this season alone, and the show has been for 8 years. Where the heck is his money? He owns a home in Mel Gibson country–Agoura Hills, in Malibu–assessed according to a 2005 public filing for $2.5 million. According to reports, he bought a seven bedroom, $7 million-plus house in Sherman Oaks, California in 2006 as well.
He’s also bought homes for his sister and daughter. He arrived at Piers Morgan’s show in a large Maybach. (He bought it, according to reports, last November for $500,000– not exactly a Corolla.) So what gives? Has it all been spent on drugs and hookers? Of course, there’s alimony and child support–two ex wives, four little kids. But still, can anyone have sympathy for this devil? This pleading poverty is not going to work. And neither is Sheen calling the cast and crew of “Two and Half Men” his, or Sheen saying he created it. Chuck Lorre created the show. It’s his show. Sheen is just an actor in it.
Sheen also told one interviewer that he “won Best Picture.” I think he means Oliver Stone won Best Picture for “Platoon.” Charlie was in the movie. But it’s hard to remember that when megalomania takes over.
Monica Lewinsky Made a Stealth Appearance Last Thursday Night
Monica Lewinsky–yes, Monica Lewinsky– I saw her last Thursday night in Beverly Hills. She attended the Ed Ruscha art premiere with her brother. And I talked to Monica, and forgot about it entirely until I saw that Terry Richardson somehow got someone that night to take a picture of him with her. It’s on his blog, and I hope it’s okay that I’ve moved it over here. Monica was great, very perky, looking un-aged from her celebrity moment a dozen years ago. I asked her if she was still making handbags. She said no. She also said she was living out in LA. She was very gracious. It was not appropriate to ask about anything else. So well, well, not much of a story. She was excited to check out all of Ruscha’s work, and that was that. Fame is fleeting. A couple of said, “Isn’t that what’s her name?” And no, she didn’t go to any Oscar parties.
After King’s Speech: Harvey Weinstein Has Hits Filming, Looming
Now that Harvey Weinstein has made his big comeback with “The King’s Speech,” what next? On Sunday, Harvey added the “King’s” Best Picture statue to ones for “Chicago,” “Shakespeare in Love,” and “The English Patient.” Not bad, but there’s more to come now that The Weinstein Company is financially buoyant.
However: “King’s” director Tom Hooper hasn’t made up his mind about any new projects yet. On Sunday night, as we admired his Oscar, Hooper said he only wanted to take a break. “I’m thinking of going to Fiji,” he said. I doubt he will; Hooper is a worker. But still, even when he does go back to work I doubt he’ll shoot another period piece. At 37, he’s unlikely to become the new Merchant Ivory.
At the same time, Harvey has plenty of films to think about. Right now “I Don’t Know How She Does It” with Sarah Jessica Parker, Pierce Brosnan and Kelsey Grammer is shooting in New York. TWC also has very strong prospects for “My Week with Marilyn,” directed by Simon Curtis and starring Michelle Williams in what is said to be a stunning performance. At Sundance Harvey bought “My Idiot Brother” with Paul Rudd, and “The Details” with Tobey Maguire, Laura Linney and Elizabeth Banks. They are each going to do very well. He also recently picked up Ralph Fiennes’s “Coriolanus.”
And then, lurking out there somewhere, is the possibility of David O. Russell directing “The Silver Linings Playbook.” If they started by mid April, “Playbook” could make it for December. And then, there’s always the unknown. I am told that TWC’s Donna Gigliotti has a few surprises up her designer sleeves. So stay tuned. Harvey Weinstein is really back.
Unthinkable: Frank Rich Leaves the New York Times
The unthinkable has happened: after 33 years, Frank Rich is leaving the New York Times. And it’s for New York Magazine, where Adam Moss has successfully led him. Rich was theater critic at the Times for 14 tumultuous years, often called “the Butcher of Broadway” for killing shows on opening night. But he’s also been a calming presence at the Times as an op ed writer and cultural force. (I’m assuming his wife, Alex Witchel, also a Times “lifer,” remains.) Rich’s prepared statement runs below. But this has to be a blow to them. Frank is a tie to the important recent past of the paper. In recent years, though, he’s been trying to do outside projects–including a pilot at HBO. The Times frowns on outside projects. At New York he’ll be able to do whatever he wants. In a time when newspapers and magazines are on the wane, New York has become more and more readable and interesting, too, so this is probably a great move for him.
Here’s the statement:
“There is no greater newspaper than the Times. I leave the paper with deep affection for both the institution and my many brilliant colleagues, and with much gratitude for the opportunity the paper gave me to serve in two dream jobs in journalism. After seventeen years in my second career there, as a columnist, I feel much as I did after nearly fourteen years in my first, as chief drama critic—both the satisfaction that I’ve given a great job all I had and a serious hunger to move on to fresh and expanded writing challenges after having done the same assignment for so long. I’ve spent much of the past year talking to friends inside and outside the Times about what might be most exciting for me next. It was impossible to top the idea of reuniting with my friend Adam Moss, who has played a crucial role in my writing life since the late 1980s and who, as editor of the Times Magazine, was instrumental in my transition from arts criticism to broader essay writing. The role Adam has created for me at his revitalized New York Magazine will allow me to write with more reflection, variety, and space than is possible within the confines of a weekly newspaper column—and, for that matter, will allow me to stretch the definition of a magazine column.”