'Unforgettable' sells to Asian webs

'Unforgettable' has been sold to several Asian webs.LONDON -- Sony Pictures Television has sold hit crime drama skein "Unforgettable" to several leading broadcasters in the Asia-Pacific region.Among the webs taking the show are Wowow in Japan, Star in India and TVNZ in New Zealand. The series, which airs on CBS in the States, has been sold to webs in more than 150 countries, including Nine in Australia, CTV in Canada and BSkyB in the U.K.It also airs on Fox Crime in Italy, AXN in Spain and OCN in South Korea."Unforgettable" stars Poppy Montgomery as Carrie Wells, an ex-cop who has the ability to recall everything she's experienced in perfect detail. It is exec produced by Sarah Timberman, Carl Beverly, John Bellucci and Ed Redlich, and is produced by Timberman/Beverly Prods. and CBS Television Studios in association with SPT. Contact Leo Barraclough at leo.barraclough@variety.com

Watch 10 minutes of John Carter online

John Carter continues to beat the drum for its upcoming release, with Disney releasing a ten-minute clip in which audiences are introduced to their hero before he finds his way to Mars.The sequence established Carter's universe within the framework of the young Edgar Rice Burroughs (author of the John Carter books) receiving his uncle's journal, and reading the wild and wonderful tale within.Take a look at the new clip below... Up to this point, all the film's promotional material has (understandably) focused upon Carter's exploits on Barsoom, so it's nice to get a look at the character's origins for a change.Although, if you fancy a bit of Mars-based action, you can watch this clip of Carter battling the formidable white apes below:[brightcove]1484324632001[/brightcove]John Carter opens in UK cinemas on 9 March 2012. Still in two minds as to whether you're going to go and watch it? You can take a look at our John Carter review here, while you're making your decision...

Casablanca Skeds Theatrical Release

Warner Bros has scheduled a 1-evening showing March 21st in nearly 500 movie theaters across the nation, presented by NCM’s Fathom Occasions. This screening is entitled Turner Classic Movies Presents Casablanca 70th Anniversary Event and precedes the March 27th discharge of the restored Casablanca on the three-disc Blu-Ray and DVD package from Warner Home Video. The classic movie’s latestrestorationwill be its third.The film first showed November 26, 1942, but didn’t open formally until The month of january 1943. It won three Academy awards, including best picture, in the 16th Oscars in the mid 1940s.

Lance Reddick, Steven Adams team

"The Wire" star Lance Reddick has teamed with manager-producer Steven Adams to form Christai Prods., a production company that kicks off with the Danny DeVito-directed supernatural thriller "St. Sebastian's." Christai Prods. will focus on developing story-driven film and TV projects that may be "outside the box" but feature strong roles that should attract talent. "I'm fortunate to have worked with so many great actors, writers, directors and producers over the years. We formed Christai to collaborate with these people and take our relationships to a new level," Reddick said. "St. Sebastian's" is a co-production with DeVito's Jersey Films that was exec produced by Steve Bing. Reddick stars alongside William Fichtner, Constance Zimmer and Lawrence Gillard. Reddick met DeVito on the set of "It's Always Sunny in Philadelphia" when Reddick guest starred last year. The pair hit it off and decided to work together on the indie pic, which recently wrapped production in Los Angeles. Christai's second project will be "Other Animals," which "Red Tails" helmer Anthony Hemingway is attached to direct. Project, which is a wry tale of intersecting characters, including an aging pop star and a hitman, will begin casting this summer. Reddick and Adams are also developing TV projects with an emphasis on edgier content for cable networks. Reddick is best known for starring on HBO's "Oz" and "The Wire," as well as ABC's "Lost." He's currently a series regular on Fox's sci-fi series "Fringe" and will soon be seen opposite Viola Davis in Fox/Walden Media's upcoming drama "Won't Back Down," skedded for release this fall. Adams is a Peabody Award-winning producer who began his career at Paradigm and recently headed the U.S. arm of Paris-based production and vfx house BUF. His recent credits as a vfx exec producer include "Avatar," "Thor" and Tim Burton's "Dark Shadows." Contact Jeff Sneider at jeff.sneider@variety.com

UCLA Study Validates CA Film and television Tax Credit

A study from UCLA's Institute for Research on Labor and Employment certifies the positive economic impact of California's Film & Television Tax Credit Program. The authors from the study conclude the program "is creating jobs and it is likely supplying an immediate economic help to the condition."California implemented this program last year to assist prevent productions from shooting outdoors the condition. Filmmakers will get a credit of 20 % to a quarter of qualified production expenses, excluding actors' salaries. The initiative excludes any project having a budget over $75 million. Despite the fact that California sets aside $100 million yearly for that program, tax credits are distributed by lottery to simply one out of every five candidates. Back Stage reported in October 2011 that Gov. Jerry Brown extended this program with the 201415 fiscal year.The UCLA study argues that a few of the program's effects happen to be slightly exaggerated previously. UCLA scientists conclude that for each dollar allocated to film subsidies, $1.04 was came back in combined condition and native tax revenues. This past year, a study carried out through the La County Economic Development Corporation and funded through the Movie Association of America stated the return was $1.13 for each dollar allotted, but this figure took it's origin from a belief that projects refused subsidies would film from condition. The UCLA study finds that some productions were shot in California despite to not get tax credits. Nonetheless, "the 2 reviews are actually not so divergent," stated Paul Audley, leader of FilmL.A., a nonprofit organization that processes film, TV, and commercial production permits. Both reviews indicate an optimistic return on opportunities produced by the condition. "The conclusion from the new report stands for the final outcome from the LAEDC reportthe California Film & Television Tax Credit is really a cost-effective job creator that delivers a internet go back to condition and local government authorities, and contains assisted increase film production for the very first time after many years of decreases," he added.The UCLA report highlights the functional role condition tax credits participate in the choice of shooting locations, which doesn't surprise Audley. "Film incentives would be the predominant factor driving location choices today," he stated. Audley stated that, besides filmmakers, other kinds of employees are departing the Golden Condition: "Another greatconcern is the fact that there has been craftspeople and suppliers permanently moving with other areas.When the condition doesn't compete to stem the output, the only real advantage left will beCalifornia's weather."More-generous tax-credit guidelines in other states are drawing filmmakers and business proprietors from California. For instance, NY provides a 30 % tax credit to lessen cost, and last August NY City Mayor Michael R. Bloomberg introduced that the record-breaking 23 television series, including eight new productions, were being shot within the five boroughs. Audley said around the comparison: "Whenever you consider the $420 million a year NY offers in comparison to California's $100 million, it's apparent that we're not truly within the competition for film businessand we have to be."Michael Kong, an old magazine posting executive, runs the Headway Project, which commissioned the UCLA study. He's made several recommendations to congress regarding how to better the present program. Included in this could be adding another $100 million towards the program to ensure that productions above $75 million could get a 12 percent tax credit.Kong would rather take away the limits around the funding entirely but realizes this type of measure may likely 't be approved: "Should you agree around the condition is earning money about this credit, then realistically you'd take away the cap entirely and then try to do just as much of the business as you possibly can, creating yet more revenue and jobs for that condition.However ,, politically, this really is unlikely to occur, a minimum of until there's consensus around the performance data. Competitors of the tax credit just don't think that $1.13 or $1.04 may be the correct number." Kong reported the 2011 Oscars like a great indication that there should be a general change in this program. He stated, "You will find nine films nominated for the best picture, and 7 of these were made outdoors of California!" Only "Moneyball" and "The Artist" were shot entirely within the Golden Condition. By Frank Nestor Feb 16, 2012 PHOTO CREDIT The Weinstein Company A study from UCLA's Institute for Research on Labor and Employment certifies the positive economic impact of California's Film & Television Tax Credit Program. The authors from the study conclude the program "is creating jobs and it is likely supplying an instantaneous economic help to the condition."California implemented this program last year to assist prevent productions from shooting outdoors the condition. Filmmakers will get a credit of 20 % to a quarter of qualified production expenses, excluding actors' salaries. The initiative excludes any project having a budget over $75 million. Despite the fact that California sets aside $100 million yearly for that program, tax credits receive by lottery to simply one out of every five candidates. Back Stage reported in October 2011 that Gov. Jerry Brown extended this program with the 201415 fiscal year.The UCLA study argues that a few of the program's effects happen to be slightly exaggerated previously. UCLA scientists conclude that for each dollar allocated to film subsidies, $1.04 was came back in combined condition and native tax revenues. This past year, a study carried out through the La County Economic Development Corporation and funded through the Movie Association of America stated the return was $1.13 for each dollar allotted, but this figure took it's origin from a belief that projects refused subsidies would film from condition. The UCLA study finds that some productions were shot in California despite to not get tax credits. Nonetheless, "the 2 reviews are actually not so divergent," stated Paul Audley, leader of FilmL.A., a nonprofit organization that processes film, TV, and commercial production permits. Both reviews indicate an optimistic return on opportunities produced by the condition. "The final outcome from the new report stands for the final outcome from the LAEDC reportthe California Film & Television Tax Credit is really a cost-effective job creator that delivers a internet go back to condition and native government authorities, and contains assisted increase film production the very first time after many years of decreases," he added.The UCLA report highlights the functional role condition tax credits participate in the choice of shooting locations, which doesn't surprise Audley. "Film incentives would be the predominant factor driving location choices today," he stated. Audley stated that, besides filmmakers, other kinds of employees are departing the Golden Condition: "Another greatconcern is the fact that there has been craftspeople and suppliers permanently moving with other areas.When the condition doesn't compete to stem the output, the only real advantage left will beCalifornia's weather."More-generous tax-credit guidelines in other states are drawing filmmakers and business proprietors from California. For instance, NY provides a 30 % tax credit to lessen cost, and last August NY City Mayor Michael R. Bloomberg introduced that the record-breaking 23 television series, including eight new productions, were being shot within the five boroughs. Audley said around the comparison: "Whenever you consider the $420 million annually NY offers in comparison to California's $100 million, it's apparent that we're not truly within the competition for film businessand we have to be."Michael Kong, an old magazine posting executive, runs the Headway Project, which commissioned the UCLA study. He's made several recommendations to congress regarding how to better the present program. Included in this could be adding another $100 million towards the program to ensure that productions above $75 million could get a 12 % tax credit.Kong would rather take away the limits around the funding entirely but realizes this type of measure may likely 't be approved: "Should you accept us the condition is earning money about this credit, then realistically you'd take away the cap entirely and then try to do because e-commerce as you possibly can, creating yet more revenue and jobs for that condition.However ,, politically, this really is unlikely to occur, a minimum of until there's consensus around the performance data. Competitors of the tax credit just don't think that $1.13 or $1.04 may be the correct number." Kong reported the 2011 Oscars like a great indication that there should be a general change in this program. He stated, "You will find nine films nominated for the best picture, and 7 of these were made outdoors of California!" Only "Moneyball" and "The Artist" were shot entirely within the Golden Condition.

REVIEW: Hollywood Heartbeat Powers Stirring Football Doc Undefeated

The underdog candidate for this year's Oscar for Best Documentary Feature, Undefeated is, fittingly, about an underdog sports team, a group of kids from an underfunded urban school for whom football provides some desperately needed structure as well as a possible route to a better life. There's good reason theWeinstein Company reportedly coughed up seven figures for distribution and remake rights to the film -- Undefeatedis Friday Night Lights meets The Blind Sidein nonfiction form, examining issues of class and race through the lens of its ragtag athletics program while also reinforcing American mythos of bootstrapping, hard work and community.Its triumphs are bittersweet, but they'reirresistible. That title isn't literal, however; there are definite losses over the course of the single hard-fought, promising high school football season this film follows, and it's still one of the best years the North Memphis Manassas Tigers have ever had. Bill Courtney is Undefeated's center, a ruddy-faced, sweaty white guy who serves as volunteer coach at the mostly (if not entirely) black school. We first see him lecturing his team about how their ranks have been decimated by drop-outs, shootings and arrests: "Most coaches, that would be a career's worth of crap to deal with. That sums up the last two weeks for me." Bill has a family of his own and a flooring company to run, but coaching is his great love, and the depth of his investment in it and his sincere faith in the potential saving power of football make his gruff character easy to latch on to. He looks to be the closest thing most of the young men he works with have to a male authority figure in their lives, fathers out of the picture, and they latch on to his devotion and to the expectations he has of them with a quiet hunger. Undefeated also follows three of Courtney's players through the year. The talented, good-naturedO.C. Brown stands a good chance of getting a football scholarship if he can pulls his grades up.Montrail Brown, who goes by "Money," is a good student working towards college until an injury on the field derails him and destroys his confidence. AndChavis Daniels arrives back on the team after a stint in juvie, and has alarming rage issues to manage. TheTigers have never won a playoff game, and they're so underfunded that they used to raise money by traveling to play other schools for pay as an easy win. Over their season they face teams that are obviously more upscale (and ones whose racial make-up is very different) as well as teams that aren't -- one game against another Memphis school ends with the police on field shooing the boys back onto their bus to head off a potential brawl with the opposing school. Despite some early setbacks, the Tigers are having a good year, and as the team wends its way to a possible playoff spot the film starts to shine as it delves into the personal lives of its players. O.C. is going to become unrecruitable if his academics don't improve, but tutors won't go to the neighborhood where he lives with his grandmother, so another (white) coach takes him in a few days a week, O.C. moving into the coach's comfy suburban set-up with his wife and kids. The matter-of-factness with which this and a later act of startling generosity are done make them heartwrenching, but also provide a reminder of how difficult things like paying for college or getting better at classwork can be without outside help. Money struggles to find motivation to keep going with school after a knee injury possibly ends his season, and flirts with dropping out. Chavis, the most haunting character, seems to have no filter on his emotions, rage seething up without warning anddissipatingjust as quickly. He chooses the number "0" for himself because he claims he has no sense, and has a clash with another player based on nothing at all. But he keeps coming back, gets off suspension, finds a place for himself on the team, realizing he needs football and has to change if he wants to be allowed to stay with it. "I'll die for you tonight," he tells Bill when he's put in the game, and you believe him. Aside from what looked like a few technical snags in terms of color,Undefeated's look is fluid and vital. It's shot vritstyle, but still finds moments for nods to studio magic -- a circling camera around a hugging Bill and O.C. toward the end is unadulterated, completely effectiveHollywood. Directed and edited by Daniel Lindsay and T.J. Martin (the pair collaborated previously on 2008's Last Cup: Road to the World Series of Beer Pong), the film finds romance in its images of the sport, from the boys walking off the field at sunset to the battles under the bright lights to a close-up that lingers on theManassas temporary tattoo one player has fixed to his cheek. Undefeated doesn't have the epic, years-spanning arc of Hoop Dreams, but it finds in its season someunfeigned resonance that, like tears during that final embrace on the field, can't be eluded. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.

'Apes,' 'Rango' top VES

"Rise of the Planet of the Apes" and "Rango" were big VES winners. "Rango" "Rise of the Planet of the Apes" took top honors but "Rango" took most honors of any feature at the Visual Effects Society Awards on Tuesday night.Fox's "Apes" prequel, with effects from Weta Digital, took honors for visual effects in a visual effects-driven motion picture, the VES equivalent of best picture, as well as animated character in a live-action feature. The award-winning character was Caesar, the genetically enhanced chimpanzee played by Andy Serkis using performance capture.However, any Oscar boost for "Apes" was nearly matched by two Paramount features, "Hugo" and "Transformers: Dark of the Moon," which also took two awards. "Hugo's" kudos were supporting visual effects in a feature, and virtual cinematography. Lead vfx studio on the pic was Pixomondo."Hugo" helmer Martin Scorsese made a surprise appearance at the ceremony. "Transformers: Dark of the Moon," with effects from Industrial Light & Magic, Digital Domain and others, won for created environment in a live-action feature and outstanding models in a feature. "Transformers the Ride: The Ultimate 3D Battle" took the special venue award. The eccentric "Rango" took four awards, all for "in an animated feature" categories: visual effects, animated character, created environment and virtual cinematography. Gore Verbinski's trippy animated Western is the first toon with animation from ILM.Among TV programs, Fox's "Terra Nova -- Occupation & Resistance" took broadcast series honors; the BBC's "Inside the Human Body" won broadcast mini, movie or special; HBO's "Game of Thrones -- Winter is Coming" took supporting effects kudos. "Game of Thrones -- The Icewall" won for created environment in a broadcast program or commercial. "Diablo III: The Black Soulstone" took honors for a vidgame commercial or trailer. Stan Lee received the Lifetime Achievement Award and Douglas Trumbull was given the George Melies Award at the 10th annual VES kudofest, held at the BevHilton. Show was hosted by Patton Oswalt.Scorsese spoke about the impact of f/x pioneer George Melies and said, "his films keep turning up all over the world. It's because of the durability of celluloid they keep turning up." Film, he said, "still really remains the best format for the preservation of cinema."Accepting the George Melies Award in honor of his pioneering work, Douglas Trumbull said "We are the most important players in the movie industry. ... But we don't get to participate in the profits." He said he made a deal for a piece of the profits on "Close Encounters of the Third Kind" and still gets residuals. Mentioning his plans to direct pix with advanced tech, he said "If you work on my movie you'll be in the profit pool."Stan Lee, accepting the org's Lifetime Achievement award in a quip-filled speech, said, "To show my gratitude, I'm creating a whole new slate of superheroes at Pow Entertainment so you'll never run out of stories to enhance."The complete list of winners of the 10th Annual VES Awards is as follows:Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture:"Rise of the Planet of the Apes": Dan Lemmon, Joe Letteri, Cyndi Ochs, Kurt WilliamsOutstanding Supporting Visual Effects in a Feature Motion Picture:"Hugo": Ben Grossmann, Alex Henning, Rob Legato, Karen MurphyOutstanding Visual Effects in an Animated Feature Motion Picture:"Rango": Tim Alexander, Hal Hickel, Jacqui Lopez, Katie LynchOutstanding Visual Effects in a Broadcast Miniseries, Movie, or Special:"Inside the Human Body": Phil Dobree, Sophie Orde, Dan UptonOutstanding Visual Effects in a Broadcast Series:"Terra Nova Occupation & Resistance": Kevin Blank, Colin Brady, Adica Manis, Jason ZimmermanOutstanding Supporting Visual Effects in a Broadcast Program:"Game of Thrones - Winter is Coming": Lucy Ainsworth-Taylor, Angela Barson, Ed Bruce, Adam McInnesOutstanding Visual Effects in a Live Action Commercial:"Dior J'adore": Pascal Giroux, Julien Meesters, Stephane Pivron, Manuel SouillacOutstanding Visual Effects in an Animated Commercial or Video Game Trailer:"Diablo III: The Black Soulstone": Nicholas S. Carpenter, Graham Cunningham, Chris Thunig, Taka YasudaOutstanding Visual Effects in a Special Venue Project:"Transformers the Ride: The Ultimate 3D Battle": Lori Arnold, Yanick Dusseault, Delio Tramontozzi, Jeff WhiteOutstanding Animated Character in a Live Action Feature Motion Picture:"Rise of the Planet of the Apes Caesar": Daniel Barrett, Florian Fernandez, Matthew Muntean, Eric ReynoldsOutstanding Animated Character in an Animated Feature Motion Picture:"Rango Rango": Frank Gravatt, Kevin Martel, Brian Paik, Steve WaltonOutstanding Animated Character in a Broadcast Program or Commercial:"Canal + The Bear": Laurent Creusot, Guillaume Ho, Olivier Mitonneau, Michal NauzinOutstanding Created Environment in a Live Action Feature Motion Picture:"Transformers: Dark of the Moon - 155 Wacker Drive": Giles Hancock, John Hanson, Tom Martinek, Scott YounkinOutstanding Created Environment in an Animated Feature Motion Picture:"Rango - Main Street Dirt": John Bell, Polly Ing, Martin Murphy, Russell PaulOutstanding Created Environment in a Broadcast Program or Commercial:"Game of Thrones - The Icewall": Markus Kuha, Dante Harbridge Robinson, Damien Mac, Fani VassiadiOutstanding Virtual Cinematography in a Live Action Feature Motion Picture:"Hugo": Martin Chamney, Rob Legato, Adam Watkins, Fabio ZanglaOutstanding Virtual Cinematography in an Animated Feature Motion Picture:"Rango The Dirt Saloon": Colin Benoit, Philippe Rebours, Nelson Sepulveda, Nick WalkerOutstanding Virtual Cinematography in a Broadcast Program or Commercial:"Gears of War 3 - Dust to Dust": Niles Heckman, Richard Morton, Vernon Wilbert Jr.Outstanding Models in a Feature Motion Picture:"Transformers: Dark of the Moon Driller": Tim Brakensiek, Kelvin Chu, David Fogler, Rene GarciaOutstanding Models in a Broadcast Program or Commercial:"Boardwalk Empire Georgia Peaches": Matthew Conner, Eran Dinur, David Reynolds, Szymon WeglarskiOutstanding Compositing in a Feature Motion Picture:"Captain America: The First Avenger Skinny Steve": Casey Allen, Trent Claus, Brian Hajek, Cliff WelshOutstanding Compositing in a Broadcast Program or Commercial:"Boardwalk Empire - Gimcrack & Bunkum": Anton Dawson. Eran Dinur, Austin Meyers, David ReynoldsOutstanding Visual Effects in a Student Project:"a.maize": Roman Kaelin, Falko Paeper, Florian Wittmann Contact David S. Cohen at david.cohen@variety.com