Paul Williams: Still Alive

A 3W Films presentation of a Mambo Entertainment production. (International sales: WME Entertainment, Los Angeles.) Produced by Jim Czarnecki, Stephen Kessler, Mike Wilkins, David Zieff. Executive producers, Robert Cohen, Lesa Lakin. Co-producer, Alicia Van Couvering. Directed, written by Stephen Kessler.With: Paul Williams, Stephen Kessler, Mariana Williams, Chris Caswell.A funny thing happened to Stephen Kessler on his way to completing "Paul Williams: Still Alive," his affectionate portrait of the diminutive dynamo who loomed improbably large as a pop-culture luminary during the 1970s. After serendipitously tracking down his childhood idol, and starting production on what he clearly intended -- initially, at least -- as a melancholy ode to a faded star, Kessler wound up forging an unlikely friendship and, in the process, making a richer, deeper and more idiosyncratic documentary. Pic could click with baby boomers and Gen-Xers in various formats, but nostalgia will be only part of its appeal. For the benefit of those who tuned in late: Throughout the '70s, Paul Williams earned fame and fortune as a prodigiously prolific songwriter, penning enduringly popular standards such as "Rainy Days and Mondays," "We've Only Just Begun," "I Won't Last a Day Without you" and "Just an Old-Fashioned Love Song" for the likes of Three Dog Night, the Carpenters, Helen Reddy and, no kidding, David Bowie. He wrote for movies (earning Oscars for "Evergreen," co-written with Barbra Streisand for "A Star is Born"; and "The Rainbow Connection" for "The Muppet Movie"), had success as a solo recording artist, and drew wide exposure as a film and TV actor. Kessler covers all of this and more in "Paul Williams: Still Alive," and duly notes that, like all too many '70s celebrities, Williams spent much of the '80s and '90s out of the spotlight while recovering from a personal and professional meltdown fueled by booze and drugs. A TV-commercial director whose feature credits include "Vegas Vacation" and "The Independent," Kessler immediately cops to being a longtime fan of his subject. He reveals that, as a chubby kid growing up in Queens, N.Y., he felt a special affinity with the borderline-elfin Williams and deeply empathized with the songwriter's works about loneliness and longing. When he fortuitously discovers that Williams still is alive and performing, Kessler has mixed emotions: He's glad to see his idol survived his crash-and-burn excess, but a bit sad to see the former superstar now playing gigs in hotel lounges and lesser Vegas venues. Williams, however, doesn't see it as sad at all. There's a fascinating dynamic at play throughout "Still Alive," as Williams -- sometimes politely, sometimes sternly -- repeatedly refuses to fulfill Kessler's expectations, and progressively prods the filmmaker into making a movie far different than the one he set out to make. Early on, Williams convinces Kessler to be an onscreen participant, claiming that it would be difficult, if not silly, for him to pretend to be unaware of the camera following him. Later, when Kessler quizzes Williams about the low points of his '70s superstardom, Williams bristles at the criticism implicit in Kessler's queries. "I feel like this is a dig that I haven't felt from you before," Williams snaps. "And I don't like it." It's very much to Kessler's credit, and to his film's benefit, that he has included this and other scenes that depict him as trying too hard to fix his subject in some preconceived scenario, and Williams as instinctively resisting facile labeling. The two men don't really begin to bond until they share a six-hour bus ride through a possibly terrorist-filled jungle during Williams' tour of the Philippines. But the give-and-take between subject and filmmaker always is the pic's primary focus. Williams readily admits to often being a drug-addled show-off during his '70s heyday -- in one of the pic's discomforting sequences, he's visibly pained as he reluctantly watches video of his spoiled-child arrogance while guest-hosting "The Merv Griffin Show" -- and he makes no excuses for savoring all the perks that came with fame. "To be different is difficult," he says. "To be special is addicting." As Kessler himself observes, there's a tension generated throughout "Paul Williams: Still Alive" by opposite points of view: While the director is looking back at a life to make a documentary, Williams -- who's still living that life -- is looking forward. But the combination of those viewpoints makes for an engrossing and satisfying pic, one that can be enjoyed even by people who have never before heard of its subject. Tech values are satisfactory.Camera (color, HD), Vern Nobles; editor, David Zieff; co-editor, Jonathan Del Gatto; production designer, Perry Andelin Blake; sound, Marcos Contreras. Reviewed at Toronto Film Festival (Real to Reel), Sept. 10, 2011. Running time: 84 MIN. Contact the Variety newsroom at news@variety.com

Watch Transformers 3 Dark Of The Moon For Free

Whitney

Filmed in Los Angeles by Stuber Pictures in association with Universal Media Studios. Executive producers, Whitney Cummings, Scott Stuber, Quan Phung, Betsy Thomas, Barry Katz, Andy Ackerman; co-executive producers, John Quaintance, Theresa Mulligan; supervising producer, Adrian Wenner; producer, Nancy Chadrow Haas; director, Ackerman; writer, Cummings.Whitney - Whitney Cummings Alex - Chris D'Elia Lily - Zoe Lister-Jones Mark - Dan O'Brien Neal - Maulik Pancholy Roxanne - Rhea Seehorn Whitney Cummings is one of the new flavors of the fall season, with a hand in producing two fledgling sitcoms -- CBS' "2 Broke Girls" and "Whitney," an NBC sitcom in which she also stars. The eponymous show, however, gets off to a decidedly tepid start, built around the title character's unmarried relationship to her longtime boyfriend, which is thrown for a mild loop by attending a wedding. With Cummings offering a quirky but not particularly compelling presence and scant support around the central couple, viewers who sample this post-"The Office" entry might experience their own fears of commitment. Whitney and b.f. Alex (Chris D'Elia, whose deadpan delivery is the show's strongest asset) seem contented enough in their unblessed cohabitation, even if he winces when she wears a hoodie sweatshirt to a wedding or tries to get him to carry her purse. "Not that whipped," he mumbles. After interacting with an obnoxiously cheery couple, however, Whitney begins to fret about their future. "I don't think we're having sex enough," she says bluntly, proceeding to hatch misguided attempts to seduce him, including the always-popular sexy nurse outfit (if you have the gams for it). The scheme backfires, of course, in "Whitney, you've got some 'splainin' to do!" fashion. Other than Cummings' slightly off-kilter view of relationships as writer and star, "Whitney" as a construct is more spindly than her legs -- the gist being a couple of crazy kids who love each other but have chosen not to tie the knot. This might have seemed truly unorthodox back when "That Girl" was on, but it's harder to see why anyone would make a fuss about it now. Then again, Whitney and Alex provide the show's anchor, surrounded by the requisite assortment of wacky friends, from skirt-chasing neighbor Mark (Dan O'Brien) to her mismatched pals, the chipper Lily (Zoe Lister-Jones) and cynical divorcee Roxanne (Rhea Seehorn). Throw in "30 Rock's" Maulik Pancholy as Lily's boyfriend, and it's about as stock a six-pack as a sitcom can uncork. "Whitney" does possess one pragmatic advantage scheduling-wise, as the lone newcomer joining NBC's Thursday comedy block: Despite critical accolades, that night hasn't set the world on fire ratings-wise -- the benefit being that expectations for the new kid shouldn't be sky high. That said, Cummings' headlong vault into primetime has its best chance of sticking the landing via the show in which she doesn't star. Because while she and D'Elia aren't bad company, there's just no compelling reason to throw bouquets at "Whitney."Camera, Patti Lee; production designer, Wendell Johnson; editor, Richard Candib; music, Ed Alton; casting, Susie Farris. 30 MIN. Contact Brian Lowry at brian.lowry@variety.com

Watch Transformers 3 Dark Of The Moon Online Free

The Champion of America's Got Talent Is...

Landau Eugene Murphy, Junior. After ten days of dying-repel and frequently absurd functions, America's Got Talent has named its Season 6 champion. Have a look at our fall preview for galleries, scoop, premiere calendars plus much more! The best competition came lower to jazz singer Landau Eugene Murphy, Junior., fan-favorite Silhouettes, music troupe Poplyfe and ballroom ballroom dancers iLuminate. It absolutely was Murphy, who formerly were living all the time and washed cars, who taken America's attention, which makes them the sixth champion of America's Got Talent. Did America comprehend it correctly? Election inside our poll: Who should have won Season 6 of America's Got Talent Landau Eugene Murphy, Junior. (the very best guy won!) Silhouettes Poplyfe iLuminate election view results

Nathan Lane joins 'English Teacher'

With production on Relativity Media's untitled Snow White pic winding down, thesp Nathan Lane is setting his sights on a very different project, as he's in negotiations to join Julianne Moore and Greg Kinnear in Artina Films' indie comedy ''The English Teacher.'' Veteran TV helmer Craig Zisk (''Weeds'') is making his feature directorial debut with the film, which was written by Dan and Stacy Chariton. Moore stars as Linda Sinclair, a high school English teacher whose life is upended when a former star pupil returns to her small town after failing miserably as a playwright in NY. Artina Films' Naomi Despres, Robert Salerno and Matthew Chausse are producing alongside Ben LeClair. Ron Curtis will exec produce the pic, which Kim Fox of Inferno Entertainment is handling international sales for. Production starts next month in Gotham. Lane, who's currently filming Tarsem's big-budget take on the Snow White fairy tale alongside Julia Roberts, is in negotiations to star in and exec produce Douglas McGrath's untitled comedy pilot, which just received a greenlight from USA. Series will find the Tony winner playing an unlucky actor whose Broadway aspirations must be put on hold when his father's declining health forces him to return to his Texas hometown. Lane is repped by ICM and Anonymous Content. Contact Jeff Sneider at jeff.sneider@variety.com

Watch Online Transformers 3 Dark Of The Moon

Christina Hendricks Want To Play Question Lady

FIRST Launched: September 13, 2011 5:05 PM EDT NEW You'll be able to, N.Y. -- Christina Hendricks might be the entire of office politics on Mad Males, but tend to she play an Amazonian princess? The buxom beauty told Access Hollywood Lives Billy Rose rose bush and Package Hoover that shed enjoy playing Question Lady concerning the silver screen if her Drive director, Nicolas Winding Refn, can get an chance to create the legendary superhero for the silver screen. In my opinion [Nicolas] thinks I'd do well because role, Christina Hendricks, who's also starring in I've No Clue How She'll It, mentioned on Tuesday. I loved coping with Nicolas a great deal, hes this type of incredibly gifted director, the 36-year-old Emmy nominee ongoing. If he reaches direct Question Lady, i rapidly need to get it completed with him. In May, NBC passed down David E. Kelleys Question Lady pilot with Adrianne Palicki inside the title role. Copyright 2011 by NBC Universal, Corporation. All rights reserved.These elements is probably not launched, broadcast, rewritten or redistributed.

Would You Have Sex With an Arab?

A Studio 37 release of a Screenrunner presentation and production, in association with Phobics, Studio 37, Motek Power Films Factory, Commune Image Media. (International sales: Other Angle Pictures, Paris.) Produced by Yves Chanvillard, Nadim Cheikhrouha. Co-producer, Jean-Luc Ormieres. Directed by Yolande Zauberman. Written by Zauberman, Selim Nassib.With: Gideon Levy, Juliano Mer-Khamis, Gabri, Ibrahim, Ayed, Walaa, Hezi, Yaniv, DJ Samy, Lina, Hanin, Dany, Sivan, Maysaloun, Elanit, Imat, Semaan, Raafat, Ayala. (English, Hebrew, Arabic, French dialogue)Youngsters -- as well as a few old-timers -- roaming the Israeli streets after dark are asked a single provocative question in docu "Would You Have Sex With an Arab?" Paris-born helmer Yolande Zauberman's film is of course less about mixed intercourse than the Arab-Israeli conflict at large, though by arriving at the polarizing subject sideways, answers often feel fresh, with the ideological and frequently abstract clash turned into something tangible and relatable, especially in the more tightly focused first hour. Despite so-so DV lensing and sound quality, pic should pucker up at liberal fests and on the tube. Pic was mainly filmed on the streets of Tel Aviv, though it also contains, per the press book, some (unidentified) footage shot in Jerusalem and Haifa. Using a compact Leica D-Lux 4, Zauberman lobs the titular question at night-owls lurking in or just outside bars and discos. Though it is often forgotten (or conveniently overlooked), a sizable population of Israeli Arabs also lives in Israel, and they are asked the equally revealing question, "Would you have sex with an Israeli Jew?" Some of the interviewees reject the concept outright or think that the idea of an Arab and a Jew making love or being in a relationship is a utopian thing that doesn't happen in real life. But Zauberman, occasionally heard in v.o., interviews enough people to suggest that such lovemaking is something that occurs more often than one might think ("desire can hit you before you can ask where someone stands politically," one of the interviewees wisely underlines). Perhaps tellingly, however, successful ongoing relationships prove about as illusive as long-term peace in the region, though some of the talking heads were in mixed relationships that lasted several years, including an older Arab man whose liaison with a Jewish woman was frowned upon until he told his peers that their being together "changed the mind of the girl about Arabs," after which they were left alone. Though it touches on issues such as sex, love and relationships, the material's recurring theme is political. By turning a faceless, unknown enemy into real people with emotions and opinions, Zauberman accumulates material that suggests harmony and understanding might be possible. It's not a revolutionary insight, perhaps, but still one that remains necessary. The mention of immigrant Maghrebi Jews, relationships with Christian Arabs and plain old foreigners further underlines the complexities of the sociopolitical patchwork that is the Middle East. Last half hour loses steam as Zauberman adds atmospheric footage from a queer Palestinian disco and a beach rave, both in Tel Aviv. They add diversity but little insight, since interview material is lacking. The impact of a prolonged closeup of a kissing couple on the shore is diminished because the lovers remain unidentified (though first names of most interviewees appear in the closing credits). Since it was shot with a tiny camera and mainly in places where loud music and little light are the norm, "Sex" has some sound and image issues. And somewhat mysteriously, Zauberman interviews most of her subjects in English, which occasionally muddles these non-native speakers' arguments. Pic's dedicated to the late Juliano Mer-Khamis, an actor-filmmaker of mixed heritage who's among the interviewees.Camera (color, DV), Zauberman; editor, Basile Belkhiri; sound (Dolby), Bruno Elhinger. Reviewed at Venice Film Festival (Horizons), Sept. 7, 2011. Running time: 86 MIN. Contact Boyd van Hoeij at news@variety.com

Watch X-Men: First Class Movie Online

Cinedigm uncovers Indie Direct

Cinedigm Digital Cinema has released Indie Direct like a distribution and advertising tool for controlling theatrical digital distribution.Chris McGurk, Chairman and Boss, made the announcement Wednesday."With Indie Direct, we now have drawn on into our years of experience and expertise to pioneer a turnkey way of indie producers to enjoy the flexible, precise and efficient distribution model digital cinema allows," he stated inside a statement. "Now, indie producers can make use of a complete service studio inside a one-stop shop." The very first two production organizations to enroll in Indie Direct are ARC Entertainment and Seven Arts Pictures. ARC is applying Indie Direct for "Zombie Journals," "Hellraiser," "Odor of Success," "Facts," "Killing Bono," "Bunraku," "Greening of Whitney Brown," "Knuckle" and "Snowmen." Seven Arts Pictures is going to be using Indie Direct for that US discharge of "The Pool Boys." Contact Dork McNary at dork.mcnary@variety.com