Elisabeth Moss Slams Ex Fred Armisen for Not Being "Normal"

Jamie Oliver Does Jamie Oliver look bigger to you? If so, don't ask him about it! The British chef and TV personality called a female reporter a "b----" after she asked about his seemingly larger frame, The Herald Sun reports. "Are you from a tabloid? Thank you for noticing," he responded Wednesday before calling the Australian journalist from ABC News the b-word. Watch videos of Jamie Oliver Oliver, who was in Australia to promote his partnership with the government to address obesity, explained that staying fit for a chef is not easy. "I eat fresh. I train twice a week. I could definitely do better, but I am trying to do my best like most people when they hit 30." When asked about the incident at a later time by a different reporter, Oliver apologized and said he was possibly hungover from the night before. "I went out last night and had a few drinks after a very long day, [and] my brain did not quite understand that question." Check out photos of Jamie Oliver Oliver's rep denied any weight gain and blamed the misconception on unflattering photos taken of the chef while he was visiting Australia. Oliver starred in ABC's Jamie Oliver's Food Revolution, which aired for two seasons on ABC and won the Emmy award for best reality program in 2010. Do you think Oliver looks like he has gained weight?

Ewan McGregor Makes Loving Look Easy in 'Salmon Fishing'

Ewan McGregor Makes Loving Look Easy in 'Salmon Fishing' By Jenelle Riley March 7, 2012 Photo by Blake Gardner Ewan McGregor has always been in love with love. Perhaps it's one of the reasons he's so excellent at portraying people in a deep state of devotion onscreen. In films such as "Moulin Rouge!," "Big Fish," and "I Love You Phillip Morris," the actor has made love at first sight seem believable, coming off as a romantic rather than a stalker. His likable optimism is a rare gift that is on display again in his new film, "Salmon Fishing in the Yemen." In director Lasse Hallstrm's latest, McGregor plays Dr. Alfred Jones, a serious scientist who is approached by Emily Blunt's easygoing Harriet Chetwode-Talbot, a consultant to a sheik interested in bringing fly-fishing to Yemen. What seems like an impossible task becomes a cause for the pair, who find themselves falling for each other despite that Alfred is married and Harriet has a military boyfriend missing in action. Though he's done his time in dramatic roles, from his breakthroughs in "Shallow Grave" and "Trainspotting" to starring opposite recent Oscar winner Christopher Plummer in "Beginners," McGregor also excels at romantic comedies, and it's a genre he adores. "Since I was a kid, I loved watching old black-and-white romantic movies," he says. He cites among his favorites "It Happened One Night," starring Clark Gable and Claudette Colbert as a wisecracking journalist and a spoiled heiress stuck on a road trip together. "Salmon Fishing" shares some qualities with that movie, though it seems McGregor has more of the Colbert role in this case. "You're right, he does have that similar arc," McGregor says with a laugh. "He starts off being very unhappy and locked up emotionally and sexually and socially. He's not comfortable in the world, and he takes himself very, very seriously as a scientist. So we see him peeling off the layers of that until he's a happy, relaxed man. It's a nice journey to take."Back Stage: You play besotted better than any actor I can think of; what's the key to hitting that emotion? Ewan McGregor: I don't know. You don't try to play besotted, you know, you're trying to tell the story of the script. And I am interested in films that are concerned with romance and falling in love, because I think it's one of the most powerful emotions that we feel as human beings, and I'm fascinated by it. I think it's an important emotion that we feel, and it drives a lot of the decisions that we make and the way we live our lives, so I think it's really interesting. I don't tire of exploring it. Back Stage: "Salmon Fishing" does offer up some new twists on the genre. For starters, when the film begins, they're both involved with other people. McGregor: I really like the element of them being involved with other people. I think it's a very real love story in that situation, that there are these obstacles. Fred is in an unhappy marriage, and it's interesting to look at. In the book it describes it very nicely, how she proposes to him at university, and he's so scared that he just says yes. He doesn't know what else to do. And the fact that Emily's character has fallen in love with a soldier missing in action; it's very complicated and not the usual romantic comedy situation. I think it makes it real, and I'm glad to see they've held on to that through the edit. I was worried they might try to pull back on those obstacles, but they haven't, which is great.Back Stage: There's a great turning point in the film where he receives a text from his wife and you expect him to go back to her, but he doesn't. McGregor: I noticed [while seeing the film] last night they've changed the text. When we shot it, and in the script, she says, "Fred, don't leave me," and he texts back, "I'm so sorry." They've changed the text to "I'm so sorry, Mary, it's for the best." Which is a note from a producerI can hear it. You know what I mean? It's something that definitely came from some film producer, not the director, and certainly not the actors. I thought it was nicer before, but anyway, it's not the end of the world. Back Stage: Do you find things like that happen a lot? McGregor: It's always happening in films, yes. Just in case somebody doesn't understand, they have to really spell it out. We always have those battles. Back Stage: Is that difficult for you, or is it something you don't think about? McGregor: Luckily, I'm not involved in it because I'm not directing; I'm just the actor, so most of that stuff happens in postproduction. When you're shooting a film there's often that kind of discussion, and it's always a case of sort of dumbing it down, I always feel. Just to make sure nobody's left in the dark, which is why we have so many movies that explain themselves as they go along now. Great cinema, the great movies of our time, don't do that, and they imbue the audience with a certain intelligence and a kind of ambiguity sometimes where you're left to make your own mind up. Two people don't always see the same film in the same way. I made a film with David Mackenzie last year called "Perfect Sense," and that's definitely the case in that. I've had all kinds of different responses from people who have seen it. And I love that about it. That's how we look at paintings, you know, there's nobody there explaining what we should see or shouldn't see or what we should feel or shouldn't feel. That's what's satisfying about any form of art, is our own interpretation of it. But the business side of the movie business will always interfere and demean that a little bit. Back Stage: One film that didn't find a big audience on release is "The Men Who Stare at Goats." It was a very offbeat film; do you think that's a case where it would have done better if there had been more interference? McGregor: No, I don't think there was anything in the film that made it popular or unpopular. Very often, it's just about how a film is released and the campaign and there's no science to it. There's no game plan you can look up on the Internet and know how to release a film. There was only one discussion about the film, and that was the ending, whether he runs through the wall or not. I felt we shouldn't see him go through the wall; we should freeze-frame just before he hits the wall. I think it would have been a sort of smarter ending. Again, we would have been left up to our own idea whether he made it or not. That's how it was in the script, as I recall. Back Stage: Another wonderful movie that sort of slipped under the radar initially is "I Love You Phillip Morris." Is it disappointing when these great films don't reach a wide audience right away? McGregor: No, I don't have any issues with that. My job is to make the film as best I can, and whether it's seen by lots of people or not lots of people, it doesn't really change the experience of watching the film. Lots of times people come up to me to speak about films that weren't seen by lots of people. One example is a film called "Stay" that I made, that gets brought up a lot. You wouldn't want to change them, because that's the way they are, and that's the director's vision for the movie, and you can't argue with that. You want people to see your films because you put your heart and soul into them, but I don't follow the release figures and the opening weekendit's not my business to worry about that. Ewan McGregor with Jim Carrey in "I Love You Phillip Morris". (Roadside Attractions) Back Stage: You've had great chemistry onscreen with everyone from Nicole Kidman to Jim Carrey. What's the secret to making that chemistry work? McGregor: It has nothing to do with me, really. I don't ever consider whether you've got chemistry or not when you're on set; you're just playing a part, and you're playing with the actor who's been cast in the other part. You often get on well or, very rarely in my experience, you don't. But it doesn't really matter; it doesn't alter what we do. Your job is to play the part convincingly. I've been very lucky, and I'm a very happy soul at work; I really like what I do, and I like to act with other actors. So it kind of lends itself to getting along with people, I suppose. Very rarely, maybe once or twice, have I had a problem with somebody. But it didn't matter to the film. Back Stage: What do you do if you're having a hard time working with someone? McGregor: Act. Back Stage: You trained at the Guildhall School of Music and Drama; did they teach you a specific style of acting there? McGregor: Not really. We touched on all different kinds of stuff. There's no Guildhall style of acting, really, they just expose you to as many different kinds of things as possible. There were a lot of movement classes, and you worked with different kinds of directors. We did some work with a director who was a Method-based actor, but it didn't suit me, really. I don't know how anyone's got the time to stop and think about all those things when they're acting. I'm much more of an instinctive actor, and I feed off the other actors, and I like them to feed off me. I always think acting is about what's going on between two or more people, not just about what's happening on my face or what my intentions are. It's more of a shared experience when I do it. Back Stage: What would you say has been your most difficult role? McGregor: I don't really struggle with it. I've always found it rather easy, and I don't complicate it for myself. They all present different challenges, but on the whole I find it quite an easy job.Outtakes Recent films include "Haywire," "The Ghost Writer," and "Angels & Demons."His uncle, Denis Lawson, played Rebel Alliance pilot Wedge Antilles in the original "Star Wars" trilogy; McGregor would go on to play Obi-Wan Kenobi in the three prequels.Stage work includes playing Sky Masterson in the 2005 London production of "Guys & Dolls" and Iago in a 2007 production of "Othello" at the Donmar WarehouseSpy Games Back Stage first spoke to Ewan McGregor in 2004, when he was promoting the Tim Burton flick "Big Fish." At the time, there was an online movement to make McGregor the next James Bond. Asked if he would be interested, he replied, "I think like everything else, you'd have to think and deal with it if it came up. They haven't spoken to me about it; there's been no dialogue. It could be a blast to make those films; there's no question about that. We'll just have to see."Some reports have emerged since then that McGregor was offered the role of Bond in 2006's "Casino Royale" but turned it down. "No," McGregor says. "Good rumor, though." He admits, however, to being approached about the part. "I think they spoke to lots of British actors when they were looking for the next Bond, and they certainly spoke to me. But it wasn't something that I pursued, and it wasn't ever a situation where they offered me the part and I turned it down, no." As for an article in The Daily Mirror saying he turned down the part out of fear of being typecast, McGregor laughs. "No, no. I've been making films for 20 years; I think it would be hard to be typecast now." Ewan McGregor Makes Loving Look Easy in 'Salmon Fishing' By Jenelle Riley March 7, 2012 PHOTO CREDIT Blake Gardner Ewan McGregor has always been in love with love. Perhaps it's one of the reasons he's so excellent at portraying people in a deep state of devotion onscreen. In films such as "Moulin Rouge!," "Big Fish," and "I Love You Phillip Morris," the actor has made love at first sight seem believable, coming off as a romantic rather than a stalker. His likable optimism is a rare gift that is on display again in his new film, "Salmon Fishing in the Yemen." In director Lasse Hallstrm's latest, McGregor plays Dr. Alfred Jones, a serious scientist who is approached by Emily Blunt's easygoing Harriet Chetwode-Talbot, a consultant to a sheik interested in bringing fly-fishing to Yemen. What seems like an impossible task becomes a cause for the pair, who find themselves falling for each other despite that Alfred is married and Harriet has a military boyfriend missing in action. Though he's done his time in dramatic roles, from his breakthroughs in "Shallow Grave" and "Trainspotting" to starring opposite recent Oscar winner Christopher Plummer in "Beginners," McGregor also excels at romantic comedies, and it's a genre he adores. "Since I was a kid, I loved watching old black-and-white romantic movies," he says. He cites among his favorites "It Happened One Night," starring Clark Gable and Claudette Colbert as a wisecracking journalist and a spoiled heiress stuck on a road trip together. "Salmon Fishing" shares some qualities with that movie, though it seems McGregor has more of the Colbert role in this case. "You're right, he does have that similar arc," McGregor says with a laugh. "He starts off being very unhappy and locked up emotionally and sexually and socially. He's not comfortable in the world, and he takes himself very, very seriously as a scientist. So we see him peeling off the layers of that until he's a happy, relaxed man. It's a nice journey to take."Back Stage: You play besotted better than any actor I can think of; what's the key to hitting that emotion? Ewan McGregor: I don't know. You don't try to play besotted, you know, you're trying to tell the story of the script. And I am interested in films that are concerned with romance and falling in love, because I think it's one of the most powerful emotions that we feel as human beings, and I'm fascinated by it. I think it's an important emotion that we feel, and it drives a lot of the decisions that we make and the way we live our lives, so I think it's really interesting. I don't tire of exploring it. Back Stage: "Salmon Fishing" does offer up some new twists on the genre. For starters, when the film begins, they're both involved with other people. McGregor: I really like the element of them being involved with other people. I think it's a very real love story in that situation, that there are these obstacles. Fred is in an unhappy marriage, and it's interesting to look at. In the book it describes it very nicely, how she proposes to him at university, and he's so scared that he just says yes. He doesn't know what else to do. And the fact that Emily's character has fallen in love with a soldier missing in action; it's very complicated and not the usual romantic comedy situation. I think it makes it real, and I'm glad to see they've held on to that through the edit. I was worried they might try to pull back on those obstacles, but they haven't, which is great.Back Stage: There's a great turning point in the film where he receives a text from his wife and you expect him to go back to her, but he doesn't. McGregor: I noticed [while seeing the film] last night they've changed the text. When we shot it, and in the script, she says, "Fred, don't leave me," and he texts back, "I'm so sorry." They've changed the text to "I'm so sorry, Mary, it's for the best." Which is a note from a producerI can hear it. You know what I mean? It's something that definitely came from some film producer, not the director, and certainly not the actors. I thought it was nicer before, but anyway, it's not the end of the world. Back Stage: Do you find things like that happen a lot? McGregor: It's always happening in films, yes. Just in case somebody doesn't understand, they have to really spell it out. We always have those battles. Back Stage: Is that difficult for you, or is it something you don't think about? McGregor: Luckily, I'm not involved in it because I'm not directing; I'm just the actor, so most of that stuff happens in postproduction. When you're shooting a film there's often that kind of discussion, and it's always a case of sort of dumbing it down, I always feel. Just to make sure nobody's left in the dark, which is why we have so many movies that explain themselves as they go along now. Great cinema, the great movies of our time, don't do that, and they imbue the audience with a certain intelligence and a kind of ambiguity sometimes where you're left to make your own mind up. Two people don't always see the same film in the same way. I made a film with David Mackenzie last year called "Perfect Sense," and that's definitely the case in that. I've had all kinds of different responses from people who have seen it. And I love that about it. That's how we look at paintings, you know, there's nobody there explaining what we should see or shouldn't see or what we should feel or shouldn't feel. That's what's satisfying about any form of art, is our own interpretation of it. But the business side of the movie business will always interfere and demean that a little bit. Back Stage: One film that didn't find a big audience on release is "The Men Who Stare at Goats." It was a very offbeat film; do you think that's a case where it would have done better if there had been more interference? McGregor: No, I don't think there was anything in the film that made it popular or unpopular. Very often, it's just about how a film is released and the campaign and there's no science to it. There's no game plan you can look up on the Internet and know how to release a film. There was only one discussion about the film, and that was the ending, whether he runs through the wall or not. I felt we shouldn't see him go through the wall; we should freeze-frame just before he hits the wall. I think it would have been a sort of smarter ending. Again, we would have been left up to our own idea whether he made it or not. That's how it was in the script, as I recall. Back Stage: Another wonderful movie that sort of slipped under the radar initially is "I Love You Phillip Morris." Is it disappointing when these great films don't reach a wide audience right away? McGregor: No, I don't have any issues with that. My job is to make the film as best I can, and whether it's seen by lots of people or not lots of people, it doesn't really change the experience of watching the film. Lots of times people come up to me to speak about films that weren't seen by lots of people. One example is a film called "Stay" that I made, that gets brought up a lot. You wouldn't want to change them, because that's the way they are, and that's the director's vision for the movie, and you can't argue with that. You want people to see your films because you put your heart and soul into them, but I don't follow the release figures and the opening weekendit's not my business to worry about that. Ewan McGregor with Jim Carrey in "I Love You Phillip Morris". (Roadside Attractions) Back Stage: You've had great chemistry onscreen with everyone from Nicole Kidman to Jim Carrey. What's the secret to making that chemistry work? McGregor: It has nothing to do with me, really. I don't ever consider whether you've got chemistry or not when you're on set; you're just playing a part, and you're playing with the actor who's been cast in the other part. You often get on well or, very rarely in my experience, you don't. But it doesn't really matter; it doesn't alter what we do. Your job is to play the part convincingly. I've been very lucky, and I'm a very happy soul at work; I really like what I do, and I like to act with other actors. So it kind of lends itself to getting along with people, I suppose. Very rarely, maybe once or twice, have I had a problem with somebody. But it didn't matter to the film. Back Stage: What do you do if you're having a hard time working with someone? McGregor: Act. Back Stage: You trained at the Guildhall School of Music and Drama; did they teach you a specific style of acting there? McGregor: Not really. We touched on all different kinds of stuff. There's no Guildhall style of acting, really, they just expose you to as many different kinds of things as possible. There were a lot of movement classes, and you worked with different kinds of directors. We did some work with a director who was a Method-based actor, but it didn't suit me, really. I don't know how anyone's got the time to stop and think about all those things when they're acting. I'm much more of an instinctive actor, and I feed off the other actors, and I like them to feed off me. I always think acting is about what's going on between two or more people, not just about what's happening on my face or what my intentions are. It's more of a shared experience when I do it. Back Stage: What would you say has been your most difficult role? McGregor: I don't really struggle with it. I've always found it rather easy, and I don't complicate it for myself. They all present different challenges, but on the whole I find it quite an easy job.Outtakes Recent films include "Haywire," "The Ghost Writer," and "Angels & Demons."His uncle, Denis Lawson, played Rebel Alliance pilot Wedge Antilles in the original "Star Wars" trilogy; McGregor would go on to play Obi-Wan Kenobi in the three prequels.Stage work includes playing Sky Masterson in the 2005 London production of "Guys & Dolls" and Iago in a 2007 production of "Othello" at the Donmar WarehouseSpy Games Back Stage first spoke to Ewan McGregor in 2004, when he was promoting the Tim Burton flick "Big Fish." At the time, there was an online movement to make McGregor the next James Bond. Asked if he would be interested, he replied, "I think like everything else, you'd have to think and deal with it if it came up. They haven't spoken to me about it; there's been no dialogue. It could be a blast to make those films; there's no question about that. We'll just have to see."Some reports have emerged since then that McGregor was offered the role of Bond in 2006's "Casino Royale" but turned it down. "No," McGregor says. "Good rumor, though." He admits, however, to being approached about the part. "I think they spoke to lots of British actors when they were looking for the next Bond, and they certainly spoke to me. But it wasn't something that I pursued, and it wasn't ever a situation where they offered me the part and I turned it down, no." As for an article in The Daily Mirror saying he turned down the part out of fear of being typecast, McGregor laughs. "No, no. I've been making films for 20 years; I think it would be hard to be typecast now."

'Cloud Atlas' Felt 'Impossible' To Susan Sarandon

For individuals people who understand and then obsess within the masterwork that's David Mitchell's superbly unique novel "Cloud Atlas," the truth that a movie adaptation has been attempted is reason for anxiety. Despite visionary filmmakers the Wachowskis in the helm as well as an all-star along with a-list cast does not alleviate all fears. Throughout the press day on her approaching indie "Shaun, Who Lives In Your Own Home,Inch Susan Sarandon considered in around the challenges of "Cloud Atlas," showing comments which have me very urged indeed. "I've really small parts, however, many genders of different looks and age range and everyone else does too," stated Sarandon. "Everybody was trans-everything, everywhere. I had been just a little nervous." "I had been so flattered the Wachowskis wanted me there and that i browse the script and thought, 'This doesn't seem possible, I certainly desire to be thing about this,A so when I acquired there there is such, it had been like Cirque du Soleil from the creative energy," she ongoing. "Everybody was getting noses or eyes and contacts, moving in one set towards the other much like 'What the hell, just begin.A Hugh Grant had not experienced makeup for over a quarter-hour and that he was relaxing in a chair for hrs. Halle Berry did one factor for seven hrs, they're just amazing things." "Exactly what the movie is all about is really beautiful and so i hope it comes down together," she continued. "Whether it does not it will likely be probably the most remarkable failures ever and that i love that they the heart to test it which Halle and Tom Hanks and all sorts of these folks were game enough enter into.Inch "Cloud Atlas" is among the most unique books I have ever read and it is very hard to describe or summarize but, the bottom line is, the storyline involves six different characters' tales, which span several periods of time, zones and perhaps atmospheres. Inform us that which you think about this news within the comments section as well as on Twitter!

Brett Butler Joins Anger Management

Gossip Girl, Vampire Journals When will audiences say their final goodbye towards the folks of Tree Hill? The CW has introduced this season's finale dates, including April being for just one Tree Hill and newcomer drama Ringer. The network also revealed the premiere date for that six-episode Canadian series The L.A. Complex, which follows the lives of six youthful entertainers residing in a condo-style motel. Then when does your preferred show summary? Take a look at all of the dates below: Wednesday, April 48/7c: One Tree Hill Tuesday, April 179/8c: Ringer Tuesday, April 249/8c: The L.A. Complex (premiere) Thursday, May 108/7c: The Vampire Diaries9/8c: The Key Circle Monday, May 148/7c: Gossip Girl9/8c: Hart of Dixie Tuesday, May 158/7c: 90210 Friday, May 188/7c: Nikita 9/8c: Supernatural Tuesday, May 299/8c: The L.A. Complex (finale) Wednesday, May 309/8c: America's Next Top Model

Hunger Games Producer Nina Jacobsons Color Force Makes Brad Simpson Partner As Shingle Expands

LOS ANGELES, February 28, 2012 Producer Brad Simpson has joined growing production company Color Force as a partner, it was announced today by company principal Nina Jacobson. Simpson, who produced the hugely successful DIARY OF A WIMPY KID films with Jacobson, will focus on expanding Color Forces production slate. His appointment will be effective March 1. Since its inception in January 2007, Color Force has proven to be a hotbed for bringing beloved literary adaptations to the big screen. The company has placed a premium on the primacy of great storytelling. They have become known for working closely with authors and filmmakers throughout the adaptation process. In just 5 years, Jacobson and her team have been able to secure valuable partnerships with several favorite pop culture writers, including Suzanne Collins (The Hunger Games trilogy), David Nicholls (One Day) and Jeff Kinney (The Wimpy Kid series). With the addition of Simpson, Color Force will be able to expand its development pipeline and talent relationships, while nurturing more properties that remain true to the core values of the company. Along with hiring Simpson, Jacobson has promoted longtime development executive Bryan Unkeless to the post of senior vice president of production. Unkeless is currently co-producer on the highly anticipated film adaptation THE HUNGER GAMES, which Jacobson is producing and is due for release March 23. They are in early pre-production on the follow up film CATCHING FIRE. This really is a seminal moment for us at Color Force, said Jacobson. Bringing on board such an accomplished producer will allow the company to grow while still giving each project the level of focus and attention it deserves. Brads exceptional taste has earned him the respect of the caliber of writers and directors we want working at Color Force. His relationships and experience will enable us to expand our production slate while Bryan continues to do the stellar job he has done of seeking out projects for us to develop. Simpson and Jacobson are currently producing DIARY OF A WIMPY KID: DOG DAYS, due for release in August from Fox 2000. Simpson is also serving as executive producer for Paramounts WORLD WAR Z, starring Brad Pitt, planned for December release. I love the movies Color Force is making and I am thrilled to be joining Nina and Bryan there, said Simpson. Anyone who has worked with Nina knows that her taste, honesty, and clarity about material is enviable. I cant wait to jump in. In addition to WORLD WAR Z, Brad Simpson most recently served as executive producer of Marc Forsters MACHINE GUN PREACHER and produced the hit films DIARY OF A WIMPY KID and DIARY OF A WIMPY KID: RODRICK RULES along with Jacobson. From 2004-2007, he was President of Appian Way, Leonardo DiCaprios Warner Brothers-based production company. Simpson began his career at the legendary NY independent production company Killer Films where he served as an executive and a producer from 1996-2004. At Killer Films, he co-produced the multiple Academy Award-nominated film FAR FROM HEAVEN, served as associate producer on BOYS DONT CRY, produced PARTY MONSTER, served as co-producer on HOME AT THE END OF THE WORLD and associate producer on CAMP. He was also involved with such classic independent films as VELVET GOLDMINE, HEDWIG AND THE ANGRY ITCH, HAPPINESS and ONE HOUR PHOTO. Originally from Little Rock, AR, Simpson graduated Magna Cum Laude from Brown University. Currently serving as Color Forces Vice President, Production and Development, it was Bryan Unkeless who originally discovered and then introduced Jacobson to Suzanne Collins THE HUNGER GAMES, the best-selling book series that has since grown to become a major cultural phenomenon. The highly anticipated film, currently in post-production with Gary Ross directing, will be released by Lionsgate on March 23, 2012 and Unkeless serves as co-producer. He also served as the development executive for the first two films in the DIARY OF A WIMPY KID franchise, which have so far earned over $140 million (and counting), and the 2011 film adaptation of the best-selling novel ONE DAY by David Nicholls. Prior to joining Color Force, Unkeless previously worked for Parkes-MacDonald Productions and DreamWorks. He is a graduate of Duke University.

The Artist Wins Large in the 2012 Oscars (Full Those who win List)

It's Oscar Sunday! Keep an eye on your Oscar pool ballots with Movieline's listing of Academy Award those who win, up-to-date through the telecast -- and chime in below together with your ideas which of Hollywood's cleverest most deserved their statuettes, who gave the very best acceptance speeches (and runners-up-caught-on-camera faces), and that have been the greatest surprises from the evening. Aaaaand The Artist carried out not surprisingly (read Movieline's review here), taking Best Picture, Best Director, Best Actor, Best Costume Design and finest Score, with Martin Scorsese's Hugo managing a close second around the evening with five honours of their own. And Uggie came out! What were your preferred wins and speeches from the evening? Those who win outlined in bold below. BEST CINEMATOGRAPHY Guillaume Schiffman, The Artist Shaun Cronenweth, The Lady using the Dragon Tattoo Robert Richardson, Hugo Emmanuel Lubezki, The Tree of Existence Janusz Kaminski, War Equine BEST ART DIRECTION Laurence Bennett, Robert Gould, The Artist Stuart Craig, Stephanie McMillan, Harry Potter and also the Deathly Hallows: Part 2 Dante Ferretti, Francesca Lo Schiavo, Hugo Ron Carter, Lee Sandales, War Equine BEST COSTUME DESIGN Mark Bridges, The Artist Michael O'Connor, Jane Eyre Sandy Powell, Hugo Lisy Christl, Anonymous Arianne Phillips, W.E. BEST MAKEUP Albert Nobbs Harry Potter and also the Deathly Hallows: Part 2 The Iron Lady BEST FOREIGN-LANGUAGE FEATURE Bullhead, Belgium Footnote, Israel In Darkness, Belgium Monsieur Lazhar, Canada A Separation, Iran BEST SUPPORTING ACTRESS Berenice Bejo, The Artist Jessica Chastain, The Assistance Melissa McCarthy, Bridesmaids Jesse McTeer, Albert Nobbs Octavia Spencer, The Assistance BEST FILM EDITING Michel Hazanavicius and Anne-Sophie Bion, The Artist Kevin Tent, The Descendants Thelma Schoonmaker, Hugo Kirk Baxter and Angus Wall, The Lady using the Dragon Tattoo Christopher Tellefsen, Moneyball BEST Seem EDITING Drive The Lady using the Dragon Tattoo Hugo Transformers: Dark from the Moon War Equine BEST Seem MIXING The Lady using the Dragon Tattoo Hugo Moneyball Transformers: Dark from the Moon War Equine BEST DOCUMENTARY FEATURE Hell and Again If your Tree Falls: A Tale of the world Liberation Front Paradise Lost 3: Purgatory Pina Undefeated BEST ANIMATED FILM FEATURE The Cat in Paris Chico and Rita Kung Fu Panda 2 Puss in Boots Rango BEST VISUAL EFFECTS Harry Potter and also the Deathly Hallows: Part 2 Hugo Real Steel Rise from the Planet from the Apes Transformers: Dark from the Moon BEST SUPPORTING ACTOR Christopher Plummer, Beginners Max Von Sydow, Very Noisy & Incredibly Close Jonah Hill, Moneyball Kenneth Branagh, My Week with Marilyn Nick Nolte, Warrior BEST ORIGINAL SCORE John Williams, The Adventures of Tintin Ludovic Bource, The Artist Howard Shoreline, Hugo Alberto Iglesias, Mess Tailor Soldier Spy John Williams, War Equine BEST ORIGINAL SONG "Guy or Muppet," The Muppets "Real in Rio," Rio BEST Modified Script Stan Chervin, Aaron Sorkin and Steven Zaillian, Moneyball George Clooney, Grant Heslov and Love Willimon, The Ides of March John Logan, Hugo Bridget O'Connor and Peter Straughan, Mess Tailor Soldier Spy Alexander Payne, Nat Faxon and Jim Rash, The Descendants BEST ORIGINAL Script Woodsy Allen, Night time in Paris J.C. Chandor, Margin Call Asghar Farhadi, A Separation Michel Hazanavicius, The Artist Annie Mumolo and Kristen Wiig, Bridesmaids BEST LIVE-ACTION SHORT Pentecost Raju The Shoreline Time Freak Tuba Atlantic BEST DOCUMENTARY SHORT The Barber of Birmingham: Feet Soldier from the Civil Privileges Movement God may be the Bigger Elvis Incident in New Baghdad Saving Face The Tsunami and also the Cherry Blossom BEST ANIMATED SHORT Dimanche/Sunday The Great Flying Books of Mr. Morris Lessmore La Luna A Morning Stroll Wild Existence BEST DIRECTOR Woodsy Allen Night time in Paris Michel Hazanavicius, The Artist Terrence Malick, The Tree of Existence Alexander Payne, The Descendants Martin Scorsese, Hugo BEST ACTOR Demin Bechir, A Much Better Existence George Clooney, The Descendants Jean Dujardin, The Artist Gary Oldman, Mess Tailor Soldier Spy Kaira Pitt, Moneyball BEST ACTRESS Glenn Close, Albert Nobbs Viola Davis, The Assistance Rooney Mara, The Lady Using the Dragon Tattoo Meryl Streep, The Iron Lady Michelle Williams, My Week With Marilyn BEST PICTURE The Artist The Descendants Very Noisy & Incredibly Close The Assistance Hugo Night time in Paris The Tree Of Existence Moneyball War Equine Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitt

Biz entry on menu at Intern Sushi

A website listing film, TV and other media internships might not seem like such a big deal at first glance, but most such sites don't have the backing of an Oscar-nominated, Emmy-winning producer and a business plan originated by an intern.Mark Gordon co-founded recruitment site Intern Sushi -- along with ad exec Richard Gelb and Shara Senderoff, the site's CEO. Gordon had hired Senderoff in 2007 as his assistant, fresh off having been an intern herself. In 2010, after several promotions, she became his director of film development and veep of interactive and new media.Senderoff first wrote her rough business plan for the site five years ago as a student at Emerson College. Two years ago, she presented the idea to Gordon, and before long, it was only a matter of hiring developers to implement her vision."With the country's economic challenges, the entertainment industry was increasingly relying on interns in a more significant way," says Gordon, who also serves on the site's advisory board. "I jumped right in to help her."Soft-launched in November, the site offers a tech-savvy solution to the challenges of getting started in showbiz. With a name inspired by the pickiness and presentation that preparing sushi requires, the site already has Paramount, Warner Music Group, DreamWorks Animation and Lionsgate onboard. It covers 15 cities and 11 industries: film, TV, sports, music, fashion, advertising/PR, Web, tech, publishing, theater and art.Intern Sushi's constituency includes more than 1,000 companies (though not all of them list jobs) and 7,000 prospective interns. It boasts 1,900 positions to fill.The site charges nothing to upload a single, standard video to create a multimedia profile. Members can send up to 10 applications per semester. But those who opt to pay either $8.99 a month, or $79.99 a year, get unlimited access, a 48-hour headstart on applying and the ability to make company-specific vids.Senderoff points out that in a down economy in which so many college students and would-be pros are applying for jobs, Intern Sushi can help them stand out from the clutter. The site can also make it easier for companies to sort through multiple candidates, says Senderoff, rendering paper resumes obsolete.In addition to its recruitment functionality, Intern Sushi features original content designed to help both interns and companies. Currently, firms looking for interns can register and post positions for free. The site's main source of revenue comes from the subscription fees paid by the premium job applicants, though it plans to institute an ad model and offer, for a fee, a chance for companies to improve the visibility of their listing.Since the soft launch just four months ago, the site has facilitated 38 hires, per Senderoff."A lot of interns are beginning to send applications, and companies are starting to post position listings for the summer," she says. "What we'll start to see in March, April and May is companies really starting to engage, interview and hire."GordonSenderoff Contact the Variety newsroom at news@variety.com