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Cis Corman, Hollywood Powerhouse, Famed Casting Director, Barbra Streisand’s Closest Advisor and “Surrogate Mother,” Dies at 93

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Cis Corman has died at age 93 in New York. She was Barbra Streisand’s closest advisor, her BFF, a Hollywood powerhouse, and a famed casting director. I used to call Cis in the 80s and 90s about politics and Hollywood, she was a great sounding board and knew everything.

Apart from executive producing three Streisand films (Mirror Has Two Faces, Nuts, Prince of Tides) Corman was a major casting director. Her credits included Raging Bull, The Deer Hunter, Yentl, The Last Temptation of Christ, The King of Comedy, and one of my favorites, Author! Author!”

Corman told Vanity Fair about Barbra’s early days in a 1991 interview: “I didn’t know she could sing for two years. I met her when she was fifteen or sixteen at our acting class at the Curt Conway Studio. She was my maid-in-waiting in a play we did at the studio, Christopher Fry’s The Lady’s Not for Burning. We became her surrogate family. I had four kids. I had roots. I had a refrigerator full of food. Barbra’s appetite for work is only matched by her appetite for food. . . . She had come to the house and my husband and I were sitting around eating in the kitchen. She said, ‘Ya know, I’m going to enter a contest for singing.’ I said, ‘Why would you do that? You don’t know how to sing.’ She said, ‘Yeah, I do.’ ‘Well, sing for us,’ I said. It was rather a silly thing to say. She said, ‘I’m too embarrassed. Well, all right, I’ll sit on the table and look towards the wall.’ So she sat down and faced the wall and sang Harold Arlen’s ‘A Sleepin’ Bee.’ She turned around when she got through and we were drenched in tears. It was something I’ll never forget.”

This is a big loss. Condolences to her family and friends, and to Barbra.

Streisand wrote on Instagram tonight:

“I first met Cis Corman in acting class when I was 16! She was 32 and had four children. She remained my best friend and surrogate mother since then. I treasured our lifelong friendship, her intelligence, her taste, and her integrity. I loved Cis dearly and will miss her forever. She was also Auntie Cis to my son Jason.
Cis cast our first film for Barwood Films, Up the Sandbox. Cis went on to become a pre-eminent casting director for Marty Scorsese, Sergio Leone, and Michael Cimino. She was the president of my Barwood Films and Barwood Television which received several Peabody awards for our television projects, several of which were Emmy winners, including three Emmys for Serving in Silence about gender discrimination in the military. We shared the conviction that a film has to serve some key social purpose, and the issues addressed in our television projects included the significant and disregarded history of women in film, the importance of gun control legislation (our film about the Long Island train massacre), gay adoption and one about non-Jewish rescuers who saved Jews during the Holocaust.
I love you, Cis.”

 

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Rest in peace, dear Cis. I first met Cis Corman in acting class when I was 16! She was 32 and had four children. She remained my best friend and surrogate mother since then. I treasured our lifelong friendship, her intelligence, her taste, and her integrity. I loved Cis dearly and will miss her forever. She was also Auntie Cis to my son Jason. Cis cast our first film for Barwood Films, Up the Sandbox. Cis went on to become a pre-eminent casting director for Marty Scorsese, Sergio Leone, and Michael Cimino. She was the president of my Barwood Films and Barwood Television which received several Peabody awards for our television projects, several of which were Emmy winners, including three Emmys for Serving in Silence about gender discrimination in the military. We shared the conviction that a film has to serve some key social purpose, and the issues addressed in our television projects included the significant and disregarded history of women in film, the importance of gun control legislation (our film about the Long Island train massacre), gay adoption and one about non-Jewish rescuers who saved Jews during the Holocaust. I love you, Cis.

A post shared by Barbra Streisand (@barbrastreisand) on


 

UPDATE A New Jackson Family Scandal? Taryll Jackson Leaves Foundation Dedicated to His Late Mother, Tito’s Wife DeeDee

EXCLUSIVE UPDATE: The person getting the $33,000 salary is Henri Hebert, listed as executive director of the Dee Dee Jackson Foundation. Henri Hebert is listed on the imdb as a reality TV show producer whose last credit was 2015’s “The Jacksons: The Next Generation.” She has no background in running a charity. That $33,000 could be going to someone in need. But this is so Jackson family. Where do they find these people?

BREAKING: Taryll Jackson is one of the 3T’s, Tito Jackson’s sons, and Michael Jackson’s nephews. He and his brothers Taj and TJ (guardian of Michael Jackson’s kids)  had formed the Dee Dee Jackson Foundation in memory of their mother. Just now Taryll resigned from the foundation with a post on Instagram. Here it is. Keep refreshing. Dee Dee died in 1994 in a swimming pool. Four years later her boyfriend was convicted of murdering her.

The Dee Dee Jackson Foundation, only two years old, has just $25,000 in the till. No salaries were paid in 2018. But in 2017 when the balance for the year was $11K, salaries of $33,000 were paid to someone, unspecified in their Form 990 tax filing. Something fishy’s going on. But the Jacksons and charities were never a good match.

Taryll writes: “One of my biggest hurdles in life has been using my voice and standing up for myself. Something I’m working on and will exercise now. I am stepping away from DDJF/Power of Love Show. I love my Mother, the foundation we have created in her honor, and BOTH of my brothers. But if we can’t practice what we preach then what’s the point? People can say, think and assume what they want. I’m standing in my truth. It’s not easy and it’s not pretty, but it’s mine and I will learn from it, grow from it and be better for it. #love”

Stay tuned…

Mariah Carey Sales Mystery Ending as Fan Frenzy to Drive Album Up Chart with Discount Purchases Subsides

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Mariah Carey’s fans are no Einsteins, that’s for sure.

Their effort to push a twelve year old album to the top of the iTunes charts is subsiding today. “E=MC2” has dropped from number 1 to number 3. The party is over.

Yesterday, they — or someone — actually bought around 500 downloads worth of that album but it wasn’t enough to keep it at number 1. By tomorrow the 2008 recording should be on its way back to oblivion. The total through Monday night is 1,200 downloads. Someone spent $120,000 to make that happen. That’s Mariah’s budget for a week of nail maintenance.

If it was the fans– and they tell me on Twitter it’s them — I don’t get it. Why waste the money? Mariah Carey is loaded beyond your dreams. She’s not sending you the money. For 9.9 out of 10 fans, I think you’d gasp if you could see the way she– or any top stars– live day to day. It’s Lifestyles of the Rich and Famous.

When the chart week is over and it’s all counted up on Friday, “E=MC2” will not show up in the top 20 or maybe 30. The whole fraud will have been for naught. Congrats.

 

 

Green Day’s Billie Joe Armstrong Has Conquered Broadway, Now He Wants to Be on CBS Soap “The Young and the Restless”

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Green Day’s Billie Joe Armstrong has already conquered Broadway with his musical, “American Idiot.” Now he wants to be Victor Newman. Armstrong told James Corden on last night’s “Late Late Show” that he wants to be on the CBS soap “The Young and the Restless” or “on a soap opera.” Corden offered to set him up on the show, which films for now in the same building. Armstrong also plays Tommy James and the Shondells’ “I Think We’re Alone Now” with his sons. The boys look younger than him, which is weird, but no weirder than anything else these days.

Irrfan Khan, Great Indian Actor, Star of “Slumdog Millionaire,” “The Namesake,” “Salaam Bombay,” Dies at 53

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We’re waking up in New York to news that the great Indian actor Irrfan Khan has died in India at age 53. Two years ago he he was diagnosed with an neuroendocrine brain tumor. Somehow he managed to make one more film, called “Angrezi Medium,” that looks terrific. I hope it will get a western release with subtitles (although some of it is in English).

I met Irrfan when he starred in Mira Nair’s extraordinary film, “The Namesake,” in 2006. He’d been a star in India since debuting in Nair’s “Salaam Bombay” (now sadly known as “Hello, Bombay!” on the imdb). In the intervening years he’d become a big Bollywood star. But “The Namesake” was in English, and had all the right elements. Irrfan took off like a rocket.

I remember that after we met and I interviewed him in Toronto, we ran into each other in quick succession in New York and Los Angeles. Irrfan was laughing. “Wait,” he said, “I see you there and there and now here! How is that possible?” He was kidding, but wide eyed.

Two years later he starred in “Slumdog Millionaire” as the police detective who’s interviewing Dev Patel, and the rest was history.

Irrfan’s trajectory from then on was pretty incredible. He just never stopped working, whether it was in comedy or drama, Western or Eastern films. And he never changed. He was always that wide eyed happy presence with a gift for making his roles come alive and resonate on film. I was really thrilled when he turned up in “Jurassic World,” and we had a good laugh about how far he’d come. Among his other films were “Life of Pi,” and “The Mighty Heart,” with Angelina Jolie.

But he couldn’t beat the cancer. According to reports he was admitted admitted into the intensive care unit of Mumbai’s Kokilaben hospital on Tuesday with a colon infection. Irrfan is survived by his wife, Sutapa, and sons, Babil and Ayan. I doubt they will ever read this, but I hope they know how loved and respected Irrfan was, and what a loss this for movies and the friends he made over here.

PS Kal Penn, his “Namesake” co-star wrote on Twitter: “Irrfan’s art and humanity will be badly missed. Never seen someone use the beats of silence so beautifully to convey so much about who we are. Sending love to Sutapa and the family.”

 

 

AMC Theatres Chief Says He’s So Mad “Trolls World Tour” Was A Streaming Hit They Won’t Show Any More Universal Pictures Releases

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I mean, really, you’ve got to be kidding. Adam Aron says he’s so mad that “Trolls World Tour” was a streaming hit, he won’t show anymore Universal Pictures releases in his theaters– if they re-open and don’t go bankrupt in the process. NBCUniversal CEO Jeff Shell told the Wall Street Journal that the studio plans to release more films day-and-date both theatrically and on video-on-demand. And this made Adam angry to send this letter to Universal’s Donna Langley. Of course, he will change his mind when Universal has a theatrical blockbuster. Because, what else will AMC show? “Fast and Furious 9” from Universal or something that has no ticket buyers. I feel for Adam. He’s in a tough spot. Everyone is.

Dear Donna,

At this time of national emergency and the coronavirus wreaking havoc on the entire world, I hope that you and your loved ones are healthy and safe. I worry – and I wish the best for – the health of all of our industry colleagues. Never in our lifetimes has there been a more challenging time.

Amidst a global pandemic as a backdrop, I wish we were spared from also having to address a different issue that arises from Universal actions currently underway.

For 100 years, AMC Theatres has served as a strategically critical and highly profitable distribution platform for movie makers, and for all that time the exclusivity of the theatrical release has been fundamental. When a movie is “Only in Theaters,” consumers perceive it to be higher quality entertainment. Countless filmmakers and moviegoers believe that their creative works are best enjoyed by consumers on the big screen. And we all know that those theatrical releases indeed boost publicity, positive word-of-mouth, critical acclaim and downstream revenues.

For much of the past four and a half years, I have been in direct dialogue with Jeff Shell and Peter Levinsohn of Universal about the importance of a robust theatrical window to the viability of the motion picture exhibition industry. Throughout that time, AMC has expressed a willingness to consider alternatives to the current windowing strategy common in our industry, where the aim of such alternatives is to improve both studio profitability and theater operator profitability.

Universal stated it only pursued a direct-to-home entertainment release for “Trolls World Tour” because theaters were closed and Universal was committed to a lucrative toy licensing deal. We had our doubts that this was wholly Universal’s motivations, as it has been a longstanding desire by Universal to go to the home day and date. Nonetheless, we accepted this action as an exception to our longstanding business practices in these unprecedented times.

In today’s Wall Street Journal, Jeff Shell is quoted as saying that:

“The results for ‘Trolls World Tour’ have exceeded our expectations and demonstrated the viability of PVOD,” Mr. Shell said. “As soon as theaters reopen, we expect to release movies on both formats.”

This radical change by Universal to the business model that currently exists between our two companies represents nothing but downside for us and is categorically unacceptable to AMC Entertainment, the worlds largest collection of movie theatres.

Going forward, AMC will not license any Universal movies in any of our 1,000 theatres globally on these terms.

Accordingly, we want to be absolutely clear, so that there is no ambiguity of any kind. AMC believes that with this proposed action to go to the home and theatres simultaneously, Universal is breaking the business model and dealings between our two companies. It assumes that we will meekly accept a reshaped view of how studios and exhibitors should interact, with zero concern on Universal’s part as to how its actions affect us. It also presumes that Universal in fact can have its cake and eat it too, that Universal film product can be released to the home and theatres at the same time, without modification to the current economic arrangements between us.

It is disappointing to us, but Jeff’s comments as to Universal’s unilateral actions and intentions have left us with no choice. Therefore, effectively immediately AMC will no longer play any Universal movies in any of our theatres in the United States, Europe or the Middle East. This policy affects any and all Universal movies per se, goes into effect today and as our theatres reopen, and is not some hollow or ill-considered threat. Incidentally, this policy is not aimed solely at Universal out of pique or to be punitive in any way, it also extends to any movie maker who unilaterally abandons current windowing practices absent good faith negotiations between us, so that they as distributor and we as exhibitor both benefit and neither are hurt from such changes. Currently, with the press comment today, Universal is the only studio contemplating a wholesale change to the status quo. Hence, this immediate communication in response.

AMC has invested significant time and energy with Universal executives over the past few years trying to figure out a new windows model that would be beneficial both for your studio and for our theatre operations. While Universal’s unilateral pronouncements on this issue are unpalatable to us, as has always been the case, AMC is willing to sit down with Universal to discuss different windows strategies and different economic models between your company and ours. However, in the absence of such discussions, and an acceptable conclusion thereto, our decades of incredibly successful business activity together has sadly come to an end.

Sincerely,

Adam Aron
CEO and President
AMC Entertainment

Mariah Carey: The Continuing Mystery of How a 12 Year Old Out of Print Album is Number 1 on iTunes

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Yes, the mystery continues.

How in the world could Mariah Carey’s “E=MC2,” an album from 2008 that is almost out of stock completely at amazon.com, be number 1 suddenly on iTunes?

iTunes, don’t forget, measures downloads, not streaming.

Sales of CD and downloads from Friday through Sunday night, according to Buzz Angle Music, came to just 677 copies. If you count in streaming– which iTunes doesn’t– total sales have been 1,200.

Of course, even that last

Compare all of this to the Number 2 album on iTunes at this moment, Fiona Apple’s “Fetch the Bolt Cutters.” It’s sold 2,200 CDs and downloads since Friday. That’s three times as much as Mariah’s album. Fiona’s total sales since Friday including streaming are 4,100.

It doesn’t take Einstein to figure out something is very wrong. I’m not saying Mariah knows what’s happening. or has sanctioned this onslaught of iTunes. But this occurred once before, when her “Glitter” album inexplicably took off after 20 years of dormancy. It could be fans just hitting buy on iTunes over and over. But why? It’s clearly a fraud.

Something is going on with iTunes, that’s for sure.

And here’s an interesting note. According to Buzz Angle, Carey fans may have tried this back on February 14th. That one week, “E=Mc2” vaulted up in digital sales, didn’t quite make it, and fell back to Earth. So this is the second time someone has tried to manipulate sales of the album. This time, it worked.

Let’s see what happens next.

 

PS Here’s the projected top 5 this week from Hitsdailydouble.com. “E=MC2” is not even in their top 20.

 

  • Youngboy Never Broke Again (NBA/Atlantic) 65-75k, 4-5k
  • DaBaby (Interscope) 50-55k, 1-2k
  • Lil Uzi Vert (Generation Now/Atlantic) 50-55k, <1k
  • The Weeknd (XO/Republic) 50-55k, 4-6k
  • Lil Baby (Quality Control/Motown/Capitol) 40-45k, <1k

 

 

Oscars: Motion Picture Academy Sets Stunning New Rules: Streaming Films Now Eligible, One Category Deleted, Final Year of DVD Screeners, Music CDs, Bound Screenplays

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Everyone wondered what it would take to force the Motion Picture Academy into the future, if not the present. Turns out it was the pandemic.

New Academy rules today will allow films that are streamed to be eligible for Oscars. They will not have to play in a theater in Los Angeles, New York, or Toronto. This decision is in response to the theaters not being open, but the Oscars still rolling toward us on February 28, 2021.

So Pete Davidson can breathe a sigh of relief. His “King of Staten Island” is going to VOD in June rather than play in theaters. Now it’s eligible for the Academy Awards.

Bigger news: this is the last year of DVD screeners. After that, it’s all links. The ornate packages, all of that stuff, is coming to an end. And it’s not just the movies. All CDs with scores and songs will be eliminated. Fancy bound books of screenplays, too.

In the case of the bound books, ebay is littered with them from past years. Some have beautiful leather covers.

The Academy also deleted a category, and combined Sound Editing and Sound Mixing into one. No one ever understood the distinction. Now it’s just Best Sound.

So what a Casting category? That would make such so sense.

There were two other new rules:

• In the Music (Original Score) category, for a score to be eligible, it must comprise a minimum of 60% original music.  Additionally, for sequels and franchise films, a score must have a minimum of 80% new music.

• In a procedural change in the International Feature Film category, all eligible Academy members will now be invited to participate in the preliminary round of voting.  For the first time, film submissions will be made available through the Academy Screening Room streaming platform to those members who opt-in.  These members of the International Feature Film Preliminary Voting committee must meet a minimum viewing requirement in order to be eligible to vote in the category.

Plus these. One of them, a requirement for closed captioning on screeners, I applaud.  Not for me, my hearing is fine, but there lots of complaints.

The following campaign regulations were also approved:

• The regulation prohibiting quotes or comments by Academy members not directly associated with the film in any form of advertising in any medium, including online and social media, was eliminated.  Academy governors and Awards and Events Committee members, however, are still prohibited from participating in such activity.

• All screeners will be required to include closed captioning.

• After nominations, film companies will be allowed to send mailings announcing the availability of song and bake-off materials on the Academy’s streaming platform.

• As part of the Academy’s sustainability effort, the 93rd Awards season will be the final year DVD screeners will be allowed to be distributed; these mailings will be discontinued starting in 2021 for the 94th Academy Awards.  Access to the Academy Screening Room will continue to be made available for all eligible releases.  The distribution of physical music CDs, screenplays and hardcopy mailings, including but not limited to paper invites and screening schedules, will also be discontinued next year.  Digital links to materials will be permitted.

 

Taylor Swift 2008 Live Album, Which the Singer Protested, is A Bust with Just 33 Copies Streamed So Far

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Taylor Swift was so upset last week that an eight-tracks live album of her music was coming, albeit unauthorized.

“Live from Clear Channel, Stripped 2008” was just part of Swift’s catalog acquired by Scooter Braun and Scott Borchetta, the latter from Big Machine Records. It was the first time they dove into the library of unreleased material since Braun and a consortium bought Big Machine last year.

Swift, who knows the deal thoroughly, caught wind of the new set being prepared for streaming and blew a gasket. She posted a notice to her fans on Instagram explaining the situation.  She called out the Soros family and the Carlyle Group, accusing them of “shameless greed.”

Well, it worked. The stream appeared last week and at first sold 7 copies. SEVEN. Then on Friday and Saturday another 26. The total is 33. THIRTY THREE. That’s it. No one bought it. Plus, it seems only Spotify took it. Apple Music isn’t carrying it. Looks like Swift wins, although it is worth a listen, frankly. But I get her point.

Here’s a screen shot from Buzz Angle aka Alpha Data with the figures. Ignore the release date, which was last Thursday. June 26, 2008 was when it was recorded. BTW, Universal put up YouTube holders for all 8 songs and yielded about 6,000 views total.

 

Michelle Obama Documentary “Becoming,” Based on Her Best Selling Autobiography Coming to Netflix

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Netflix has set May 6th as the date for “Becoming,” the documentary based on Michelle Obama’s best selling autobiography. “Becoming” is directed by Directed by: Nadia Hallgren and produced by Katy Chevigny, Marilyn Ness, and Lauren Cioffi.

The Former First Lady (and still First Lady for many of us) writes:

“I’m excited to let you know that on May 6, Netflix will release BECOMING, a documentary film directed by Nadia Hallgren that looks at my life and the experiences I had while touring following the release of my memoir.

“Those months I spent traveling — meeting and connecting with people in cities across the globe — drove home the idea that what we share in common is deep and real and can’t be messed with. In groups large and small, young and old, unique and united, we came together and shared stories, filling those spaces with our joys, worries, and dreams. We processed the past and imagined a better future. In talking about the idea of ‘becoming,’ many of us dared to say our hopes out loud.

“I treasure the memories and that sense of connection now more than ever, as we struggle together to weather this pandemic, as we care for our loved ones, tend to our communities, and try to keep up with work and school while coping with huge amounts of loss, confusion, and uncertainty.

“It’s hard these days to feel grounded or hopeful, but I hope that like me, you’ll find joy and a bit of respite in what Nadia has made. Because she’s a rare talent, someone whose intelligence and compassion for others comes through in every frame she shoots. Most importantly, she understands the meaning of community, the power of community, and her work is magically able to depict it.

“As many of you know, I’m a hugger. My whole life, I’ve seen it as the most natural and equalizing gesture one human can make toward another — the easiest way of saying, “I’m here for you.” And this is one of the toughest parts of our new reality: Things that once felt simple — going to see a friend, sitting with someone who is hurting, embracing someone new — are now not simple at all.

“But I’m here for you. And I know you are here for one another. Even as we can no longer safely gather or feed off the energy of groups, even as many of us are living with grief, loneliness, and fear, we need to stay open and able to put ourselves in other people’s shoes. Empathy is our lifeline here. It’s what will get us to the other side. Let’s use it to redirect our attention toward what matters most, reconsider our priorities, and find ways to better remake the world in the image of our hopes.

“Even in hard times, maybe especially in hard times, our stories help cement our values and strengthen our connections. Sharing them shows us the way forward. I love and miss you all.”