U.S. pop singer Patti Page dies at age 85

LOS ANGELES (Reuters) – American pop singer Patti Page, whose 1950 hit “Tennessee Waltz” topped the charts for months, has died in Southern California, her manager said on Wednesday. She was 85.

Nicknamed “The Singing’ Rage,” Page sold more than 100 million albums in her 67-year career, which included 1950s chart toppers “(How Much Is That) Doggie in the Window,” “I Went to Your Wedding” and “All My Love (Bolero).”

She died on Tuesday in a nursing home in Encinitas, north of San Diego, after suffering congestive heart failure, her manager, Michael Glynn, told Reuters.

“She’d been having some health issues for the past couple of years,” Glynn said. “She was actually doing better yesterday. I spoke to her and she sounded well.”

Page won a Grammy for her 1998 album “Live at Carnegie Hall: The 50th Anniversary Concert” and will be honored with a lifetime achievement Grammy in February. She had expected to attend the ceremony, Glynn said.

Page was born in Oklahoma as Clara Ann Fowler in 1927 and was known for her light, every-girl voice. Her first big hit was “With My Eyes Wide Open, I’m Dreaming,” which peaked at No. 11 on the charts in 1950.

Eight years later, Page scored her penultimate top-10 song, “Left Right Out of Your Heart,” as rock ‘n’ roll was emerging as the dominant trend in popular music.

Her final big hit was “Hush … Hush Sweet Charlotte” in 1965. The song served as the theme of a film of the same name starring Bette Davis.

Her reputation was burnished in recent years when rock group The White Stripes covered her 1952 song “Conquest” on their Grammy-winning 2007 album “Icky Thump.”

She was married three times, most recently in 1990.

Page is survived by her two children, and several grandchildren and great-grandchildren.

(Reporting by Eric Kelsey; Editing by Jill Serjeant and Peter Cooney)

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Playboy Hugh Hefner marries his ‘runaway bride’

LOS ANGELES (AP) — Hugh Hefner is celebrating the new year as a married man once again.

The 86-year-old Playboy magazine founder exchanged vows with his “runaway bride,” Crystal Harris, at a private Playboy Mansion ceremony on New Year’s Eve. Harris, a 26-year-old “Playmate of the Month” in 2009, broke off a previous engagement to Hefner just before they were to be married in 2011.

Playboy said on Tuesday that the couple celebrated at a New Year’s Eve party at the mansion with guests that included comic Jon Lovitz, Gene Simmons of KISS and baseball star Evan Longoria.

The bride wore a strapless gown in soft pink, Hefner a black tux. Hefner’s been married twice before but lived the single life between 1959 and 1989.

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Kardashian, West feel ‘blessed’ over baby news

ATLANTIC CITY, N.J. (AP) — Kim Kardashian and Kanye West are feeling lucky about their first child together.

“It’s true,” the 32-year-old reality TV star said in a statement on her site Monday. “Kanye and I are expecting a baby. We feel so blessed and lucky and wish that in addition to both of our families, his mom and my dad could be here to celebrate this special time with us.”

Kardashian’s father, Robert Kardashian, died in 2003. West’s mother, Donda West, died in 2007.

Kardashian added in the blog post that she was “looking forward to great new beginnings in 2013 and to starting a family.”

The 35-year-old rapper revealed to a crowd of more than 5,000 in song form at a concert Sunday that his girlfriend is pregnant. Kardashian was in the crowd at Revel Resort’s Ovation Hall with her mother, Kris Jenner, and West’s mentor and best friend, Jay-Z.

The news instantly went viral online, with thousands posting and commenting on the expecting couple.

Most of the Kardashian clan tweeted about the news, including Kim’s sisters. Kourtney Kardashian wrote: “Another angel to welcome to our family. Overwhelmed with excitement!”

West told concertgoers to congratulate his “baby mom” and that this was the “most amazing thing.”

Representatives for West and Kardashian didn’t immediately respond to emails about the pregnancy.

The rapper and reality TV star went public with their relationship in March.

Kardashian married NBA player Kris Humphries in August 2011 and their divorce is not finalized.

West’s Sunday-night show was his third consecutive performance at Revel. He took the stage for nearly two hours, performing hits like “Good Life,” ”Jesus Walks” and “Clique” in an all-white ensemble with two bandmates.

Kardashian is expected to spend New Year’s Eve at public appearance at a Las Vegas nightclub.

___

AP Writer Bianca Roach contributed to this report.

___

Follow Mesfin Fekadu on Twitter at http://twitter.com/MusicMesfin . Follow Bianca Roach at http://twitter.com/B__Roach

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“The Hobbit” keeps box office crown for third week

(Reuters) – The dwarfs and elves of “The Hobbit: An Unexpected Journey” prevailed at the North American box office again over the weekend, as its $ 32.9 million in ticket sales topped both the star-packed musical “Les Miserables” and the western “Django Unchained.”

Despite surging past “The Hobbit” on Christmas day with an $ 18.1 million opening, “Les Miz” managed only third place in U.S. and Canadian sales with $ 28 million as Christmas shoppers returned from the malls to boost Hollywood‘s box office, according to studio estimates.

“The Hobbit,” in its third week of release, has now grossed $ 222.7 million domestically, Warner Bros said.

Quentin Tarantino’s “Django Unchained,” a western starring Jamie Fox as a slave turned bounty hunter, took second with an impressive $ 30.7 million.

Tom Cruise’s crime drama “Jack Reacher,” which features author Lee Child’s former military investigator solving a fatal sniper attack, landed in fifth with $ 14 million, outpaced by “Parental Guidance,” the Billy Crystal-Bette Midler as grandparents comedy which took in $ 14.8 million to nab fourth.

Chris Aronson, president of domestic distribution for Fox, said the “Parental Guidance” performance was “just a tremendous result for our little engine that could.”

Backed by a musical score that made it a Broadway icon, “Les Miz” surged past “The Hobbit” on Christmas day, collecting $ 18.1 million to pass “High School Musical 3: Senior Year” with the biggest midweek opening day by a musical.

But it was not enough to conquer the “Hobbit” juggernaut, which scored its third straight box office weekend win.

Universal’s president for domestic distribution Nikki Rocco called the “Les Miz” $ 28 million take “phenomenal, especially considering we went into the weekend with $ 40 million,” an unexpectedly strong figure for its first few days in release.

“People really love this movie, which is even more rewarding and gratifying,” Rocco said.

“Les Miserables,” which stars Hugh Jackman, Russell Crowe and Anne Hathaway, benefited from Oscar buzz and its star power, said Paul Dergarabedian, president of Hollywood.com’s box office division, who said he wouldn’t be surprised to see the musical pass $ 200 million before it’s done.

That would put it among the Hollywood‘s Top 20 best-selling musicals. It would pass the 1972 film “Cabaret,” which grossed $ 191 million in box office sales adjusted for higher ticket prices, and put it close to “Camelot,” which sold $ 204.5 million in 1967, according to the web site the-numbers.com.

The most successful musical is “Snow White and the Seven Dwarfs,” which grossed more than $ 6.3 billion but has been re-released by Walt Disney nine times since its 1937 premiere, according to the site.

A rush of high-profile films in December is expected to push 2012 to a domestic box office record. The current record is $ 10.6 billion, set in 2009.

“Jack Reacher” debuted just days after the Newtown, Connecticut, school shooting sparked new debate about the impact of movie violence. “Reacher” begins with a sniper killing a handful of seemingly random victims. A red-carpet premiere and a screening to promote the $ 60-million production were postponed after the December 14 Newtown tragedy.

Adult comedy “This is 40″ starring Paul Rudd and Leslie Mann as a middle-aged couple was sixth with $ 13.2 million. The Judd Apatow $ 35 million film totaled $ 37 million after two weeks. The seventh spot went to Steven Spielberg’s historical film “Lincoln,” with $ 7.5 million for a $ 132 million domestic total.

Comedy “The Guilt Trip,” starring Barbra Streisand and Seth Rogen as a mother and son on a cross-country drive, pulled in $ 6.7 million for eighth.

Also this week the latest James Bond hit “Skyfall” topped $ 1 billion in worldwide sales, despite falling out of the week’s top 10 films at the box office.

“The Hobbit” was distributed by Time Warner Inc’s Warner Bros studio. Paramount Pictures, a unit of Viacom Inc released, “Jack Reacher” and “The Guilt Trip.” Comcast Corp’s Universal Studios released “Les Miserables” and “This is 40.” “Django Unchained” was released in the United States by the Weinstein Company.

(Reporting By Ronald Grover; Editing by Cynthia Osterman)

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Actress Katie Holmes’ Broadway show to close

NEW YORK (Reuters) – Actress Katie Holmes‘ return to Broadway has been cut short, with producers announcing that the play “Dead Accounts” in which she co-stars will close on January 6, nearly two months early.

Holmes, the ex-wife of actor Tom Cruise, played Lorna, a wan, beaten-down woman living with her parents in the five-character play by Theresa Rebeck which opened on November 29 to mostly negative reviews.

No reason was given for the play’s early closing, but media reports said it was earning only a fraction of its box office potential.

Many reviewers said Holmes acquitted herself alongside a roster of Broadway veterans, who included Tony-winning actor Norbert Leo Butz as the brother who returns to his Midwestern family and unleashes havoc in the comedy.

The New York Daily News said “she throws herself gamely into her second Broadway show … (but) Holmes’ efforts add up to zilch.”

Most critics laid blame on an undeveloped, sketchy play by the author of last season’s better-received “Seminar.”

Holmes, 34, reached a high-profile divorce settlement with Cruise last summer. She lives in New York with her young daughter, Suri. Holmes will co-star in an upcoming film which will be a modernization of Chekhov’s “The Seagull” along with Allison Janney and William Hurt.

(Reporting by Chris Michaud; Editing by Patricia Reaney and Vicki Allen)

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It’s husband No. 3 for actress Kate Winslet

NEW YORK (AP) — Kate Winslet has tied the knot again.

The Oscar-winning actress wed Ned Rocknroll in New York earlier this month. The private ceremony was attended by Winslet‘s two children as well as a few friends and family members, her representative said Thursday.

It is the third marriage for the 37-year-old Winslet. She was previously married to film directors Jim Threapleton and Sam Mendes.

The 34-year-old Rocknroll, who was born Abel Smith, is a nephew of billionaire Virgin Group founder Richard Branson.

The couple had been engaged since last summer.

Winslet won a Best Actress Oscar for her performance in the 2008 film “The Reader.”

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Natalie Portman, Kristen Stewart most bankable Hollywood stars

NEW YORK (Reuters) – Actresses Natalie Portman and Kristen Stewart are Hollywood’s most bankable stars and provide studios with the highest average returns for their films, according to Forbes.com.

Academy award winner Portman topped the list of best actors for the buck, providing about $ 42.70 for every dollar she earns.

“Black Swan,” for which she won her best actress Oscar, was produced for an estimated $ 13 million and earned $ 329 million in global box office sales.

“We estimate that for every dollar Portman is paid by the studios, she returns $ 42.70. Compare that to Eddie Murphy, our most overpaid star, who returns $ 2.30 for every dollar he gets paid,” Forbes.com said.

“Twilight” star Stewart was not far behind, bringing in $ 40.60. She also topped the Forbes list of highest-earning actresses with an estimated $ 34.5 million in salary in 2012.

“Stewart was able to earn a ton over the last three years and offer a healthy return thanks to ‘Twilight,’” according to Forbes.com. “Even though she was paid $ 25 million to star in the last two films, she was clearly worth the money.”

Forbes.com analyzed salaries, estimated box office grosses from the actor’s last three films over the previous three years to calculate the studio’s return on investment. The most bankable stars tended to be featured in the most profitable films.

Stewart’s two co-stars in the “Twilight” films were also good investments for the studio. Robert Pattinson came in fourth with a return of $ 31.70 and Taylor Lautner was No. 6, making $ 29.50 for the studio for every dollar he was paid.

(This story was refiled to correct spelling of Kristen)

(Editing by Steve Orlofsky)

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Jessica Simpson’s Christmas gift: She’s pregnant

NEW YORK (AP) — Jessica Simpson‘s daughter has the news all spelled out: “Big Sis.”

Simpson on Tuesday tweeted a photo of her baby daughter Maxwell playing in the sand, the words “Big Sis” spelled out.

The 32-year-old old singer and personality has been rumored to be expecting again. The tweet appears to confirm the rumors.

“Merry Christmas from my family to yours” is the picture’s caption. Simpson used a tweet on Halloween in 2011 to announce she was pregnant with Maxwell. She is engaged to Eric Johnson and gave birth to Maxwell in May.

One possible complication regarding her pregnancy: She is a spokeswoman for Weight Watchers.

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‘Not Fade Away’: An Age Gap Defined by the Rolling Stones

LOS ANGELES (TheWrap.com) – For David Chase, the counterculture revolution that consumed the 1960s was a generational conflict that played out against a soundtrack of killer rock songs.

“The Sopranos” creator is poised to make his film directing debut this week with the release of “Not Fade Away” at the age of 67, but for his first foray into big screen entertainment he is fixated on a younger generation, albeit one from a very different era. The movie centers on a rock band coming of age in New Jersey, and never quite making it to the big time.

It stars John Magaro (a dead-ringer for Bob Dylan), Bella Heathcote (“Dark Shadows”) and “The Sopranos” veteran James Gandolfini, here standing in for exasperated parenthood.

For Magaro, the film is really a distillation of the conflict between art and war – with the younger generation siding more with music, while the older one opted for arms.

“It’s about the threat of nuclear war in the ’60s countered by the life and hope that rock ‘n’ roll gave to a generation,” he said. “It’s the ultimate choice, really.”

That kind of generational clash was never wider than during that tumultuous decade, argues music supervisor and executive producer Steven Van Zandt, who is, after all, something of an authority on the situation thanks to his work with Bruce Springsteen’s E Street Band.

“It’s a little hard to explain to people now, but I don’t think it’s happened before the ’60s, and it hasn’t happened since,” Van Zandt said at a press conference for the film last weekend. “So maybe it was a very unique period of time, but there’s an expression called the generation gap, and it really did exist. It was the only time in history I think where the parents and their own children were completely at odds with each other. They did not relate to each other at all.”

“Not Fade Away” is not a musical, but it is a movie in which music is paramount to the story — indeed, some sections play out almost as music videos for anthems like the Rolling Stones‘ “Lady Jane” or Joey Dee and the Starliters’ “The Peppermint Twist.”

In fact, music is more totemic for the band of aspiring rockers than major historical events like the Vietnam War and the Martin Luther King Jr. assassination that unfold around them and define the decade. Van Zandt claims that kind of tunnel vision reflects his own experience during the period.

“I was there and, you know, it was, like, yeah, civil rights going on, the cities are burning down and assassinations and Vietnam, but let’s get the chords to the new Yardbirds song,” he said.

For the characters, the defining moment instead is not news reports of riots in Watts or shots of bodybags being loaded onto Chinook helicopters. Rather it is the first U.S. national television appearance by the Rolling Stones on “The Hollywood Palace” in 1964 that makes the biggest impression.

During the program, an eye-rolling Dean Martin makes it clear that the Stones’ brand of sensual blues is at odds with his Vegas style crooning.

“I saw that when it happened,” Gandolfini recalled during the press conference. “And I saw my past and future in front of me. Dean Martin making fun of the Rolling Stones. And it was the most important moment of – well, first or second most important moment of my life because the Beatles happened four months earlier, which was the first most important moment of my life.”

To help the twenty-somethings tapped to portray the film’s youthful protagonists understand the impact this music had on Gandolfini’s generation, Paramount, the studio behind the film, sent them dozens of records from the likes of the Stones and the Paul Butterfield Blues band. Though Chase joked that many actors auditioning for the roles mispronounced Mick Jagger as Mick Yagar, he found that his troop of actors quickly embraced the music that forms the spine of his movie.

“It’s so much better than what has mass appeal today,” Heathcote told TheWrap. “There’s something about it, particularly with the Stones, they don’t give a s—, they just carried that air, and Mick Jagger and Keith Richards were sexy guys. There was something about them that was original and so timeless.”

It also called for Van Zandt to run a musical boot camp for Magaro and the other actors who make up the band, none of whom played the instruments they were expected to use on screen. After three months of drilling, Magaro said he got the hang of the drums.

“I wouldn’t say I’m the next Ginger Baker, but I was able to play the songs,” he said. “I was lucky, because early rock ‘n’ roll like Chuck Berry and the Kinks used really simple beats.”

It all builds up to a final evocative image of a young girl, the sister of Magaro’s character and the film’s narrator, dancing in the middle of a deserted Sunset Boulevard. As she sways, she talks about the choice between Armageddon and rock. It’s clear, where Chase sides.

“What she says is a thought that I had one time at a Stones concert and it was my way of saying how powerful and how beautiful that music really is,” Chase said.

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‘Hobbit’ extends No. 1 journey with $36.7 million

LOS ANGELES (AP) — Tiny hobbit Bilbo Baggins is running circles around some of the biggest names in Hollywood.

Peter Jackson’s “The Hobbit: An Unexpected Journey” took in $ 36.7 million to remain No. 1 at the box office for the second-straight weekend, easily beating a rush of top-name holiday newcomers.

Part one of Jackson’s prelude to his “The Lord of the Rings” trilogy, the Warner Bros. release raised its domestic total to $ 149.9 million after 10 days. The film added $ 91 million overseas to bring its international total to $ 284 million and its worldwide haul to $ 434 million.

“The Hobbit” took a steep 57 percent drop from its domestic $ 84.6 million opening weekend, but business was soft in general as many people skipped movies in favor of last-minute Christmas preparations.

“The real winner this weekend might be holiday shopping,” said Paul Dergarabedian, an analyst for box-office tracker Hollywood.com.

Tom Cruise‘s action thriller “Jack Reacher” debuted in second-place with a modest $ 15.6 million debut, according to studio estimates Sunday. Based on the Lee Child best-seller “One Shot,” the Paramount Pictures release stars Cruise as a lone-wolf ex-military investigator tracking a sniper conspiracy.

Opening at No. 3 with $ 12 million was Judd Apatow’s marital comedy “This Is 40,” a Universal Pictures film featuring Paul Rudd and Leslie Mann reprising their roles from the director’s 2007 hit “Knocked Up.”

Paramount’s road-trip romp “The Guilt Trip,” featuring “Knocked Up” star Seth Rogen and Barbra Streisand, debuted weakly at No. 6 with $ 5.4 million over the weekend and $ 7.4 million since it opened Wednesday. Playing in narrower release, Paramount’s acrobatic fantasy “Cirque du Soleil: Worlds Away” debuted at No. 11 with $ 2.1 million.

A 3-D version of Disney’s 2001 animated blockbuster “Monsters, Inc.” also had a modest start at No. 7 with $ 5 million over the weekend and $ 6.5 million since opening Wednesday.

Domestic business was off for the first time in nearly two months. Overall revenues totaled $ 112 million, down 12.6 percent from the same weekend last year, when Cruise’s “Mission: Impossible — Ghost Protocol” debuted with $ 29.6 million, according to Hollywood.com.

Cruise’s “Jack Reacher” opened at barely half the level as “Ghost Protocol,” but with a $ 60 million budget, the new flick cost about $ 100 million less to make.

Starting on Christmas, Hollywood expects a big week of movie-going with schools out through New Year’s Day and many adults taking time off. So Paramount and other studios are counting on strong business for films that started slowly this weekend.

“‘Jack Reacher’ will end up in a very good place. The movie will be profitable for Paramount,” said Don Harris, the studio’s head of distribution. “The first time I saw the movie I saw dollar signs. It certainly wasn’t intended to be compared to a ‘Mission: Impossible,’ though.”

Likewise, Warner Bros. is looking for steady crowds for “The Hobbit” over the next week, despite the debut of two huge newcomers — the musical “Les Miserables” and the action movie “Django Unchained” — on Christmas Day.

“We haven’t reached the key holiday play time yet,” said Dan Fellman, head of distribution for Warner. “It explodes on Tuesday and goes right through the end of the year.”

In limited release, Kathryn Bigelow’s Osama bin Laden manhunt saga “Zero Dark Thirty” played to packed houses with $ 410,000 in just five theaters, averaging a huge $ 82,000 a cinema.

That compares to a $ 4,654 average in 3,352 theaters for “Jack Reacher” and a $ 4,130 average in 2,913 cinemas for “This Is 40.” ”The Guilt Trip” averaged $ 2,217 in 2,431 locations, and “Monsters, Inc.” averaged $ 1,925 in 2,618 cinemas. Playing just one matinee and one evening show a day at 840 theaters, “Cirque du Soleil” averaged $ 2,542.

Since opening Wednesday, “Zero Dark Thirty” has taken in $ 639,000. Distributor Sony plans to expand the acclaimed film to nationwide release Jan. 11, amid film honors and nominations leading up to the Feb. 24 Academy Awards.

Opening in 15 theaters from Lionsgate banner Summit Entertainment, Naomi Watts and Ewan McGregor’s tsunami-survival drama “The Impossible” took in $ 138,750 for an average of $ 9,250.

A fourth new release from Paramount, “The Sopranos” creator David Chase’s 1960s rock ‘n’ roll tale “Not Fade Away,” debuted with $ 19,000 in three theaters, averaging $ 6,333.

Universal’s “Les Miserables” got a head-start on its domestic release with a $ 4.2 million debut in Japan.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Hollywood.com. Where available, latest international numbers are also included. Final domestic figures will be released Monday.

1. “The Hobbit: An Unexpected Journey,” $ 36.7 million ($ 91 million international).

2. “Jack Reacher,” $ 15.6 million ($ 2.5 million international).

3. “This Is 40,” $ 12 million.

4. “Rise of the Guardians,” $ 5.9 million ($ 13.7 million international).

5. “Lincoln,” $ 5.6 million.

6. “The Guilt Trip,” $ 5.4 million.

7. “Monsters, Inc.” in 3-D, $ 5 million.

8. “Skyfall,” $ 4.7 million ($ 9 million international),

9. “Life of Pi,” $ 3.8 million ($ 23.2 million international).

10. “The Twilight Saga: Breaking Dawn — Part 2,” $ 2.6 million ($ 6.6 million international).

___

Estimated weekend ticket sales at international theaters (excluding the U.S. and Canada) for films distributed overseas by Hollywood studios, according to Rentrak:

1. “The Hobbit: An Unexpected Journey,” $ 91 million.

2. “Life of Pi,” $ 23.2 million.

3. “Rise of the Guardians,” $ 13.7 million.

4. “Skyfall,” $ 9 million.

5. “Wreck-It Ralph,” $ 7.3 million.

6. “The Twilight Saga: Breaking Dawn — Part 2,” $ 6.6 million.

7. “Pitch Perfect,” $ 6 million.

8. “Les Miserables,” $ 4.2 million.

9. “Love 911,” $ 3.2 million.

10. “De L’autre Cote du Periph,” $ 3.1 million.

___

Online:

http://www.hollywood.com

http://www.rentrak.com

___

Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Americans answer D.C.’s siren song of employment, strong economy

WASHINGTON (Reuters) – Thirteen years ago the band The Magnetic Fields crooned that the U.S. capital city is “the greatest place to be,” in the indie love song “Washington, D.C.”

Recently, a growing number of Americans are singing along as they move to the District in search of jobs, economic opportunity and cultural attractions.

In a study on migration provided exclusively to Reuters that is set to be released next month, United Van Lines found the District of Columbia tops all 50 states for the number of people moving in during 2012.

The city has held that spot for five years running, with 64 percent of the household moves in Washington coming from outside the city in 2012.

United Van Lines is the largest moving company in the country for households.

Oregon ranked second, followed by Nevada, North Carolina and South Carolina. Washington is a city that does not belong to a state, but is subject to loose control from the federal government.

“Washington, D.C., is unique because over the last five years its unemployment rate was not hit as hard by the Great Recession,” said Michael Stoll, chair and professor of public policy at the University of California at Los Angeles about the study. “But I think the other thing is that the city has remade itself from the one we knew 10 to 15 years ago.”

Washington has shed its reputation as the crime capital of the country, and it has developed a high technology corridor and other businesses that are both stable and hiring, said Stoll.

Also, many members of the Baby Boom generation are moving in as they retire, taking advantage of the free museums, monuments and cultural events the city has to offer, he said.

The rising popularity could yield a result also unthinkable less than two decades ago.

“D.C. will not just be a place of tourism. It will be a major economic engine, which many of us haven’t thought of it as being before,” Stoll said.

A U.S. Census report released on Thursday also showed the city is gaining new residents. Washington’s population increased 2.15 percent between July 2011 and July 2012, a rise second only to North Dakota.

The District’s population increase of 5.1 percent from 2010 to 2012 was the biggest in the country, the Census found. It had had 632,323 residents as of July 1.

The city has a large international community, largely due to the presence of foreign embassies and organizations such as the World Bank. The Census found people from other countries made up 32 percent of the net migration from 2011 to 2012.

According to a Labor Department report released on Friday, the District’s unemployment rate fell in November to 8.1 percent from 10.1 percent the year before. Local political leaders point to a development boom and one of the highest median incomes in the country – $ 63,124 – as other draws to the city.

On a national level, Stoll said, the migration patterns show Americans are seeking economic opportunity in places where new manufacturing and technology enterprises are building up. The patterns reveal a swelling group of aging people who are retiring and looking for affordable and comfortable places to live, as well.

He added that many people who wanted to move to California, but were put off by the state’s economic woes, turned their moving vans north to Oregon.

New Jersey topped states for outward moves, in 2012, the United Van Lines study showed, largely due to a shrinking factory sector. It was followed by Illinois, West Virginia, Michigan and New York.

Washington’s popularity surge recently created a paradox in the city’s economic success story. Last month, the Brookings Institution concluded three U.S. metropolitan areas are in economic recovery, but did not include Washington because its population burst drove down its gross domestic product on a per capita basis.

(Reporting By Lisa Lambert; Editing by Leslie Adler)

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Ashton Kutcher files for divorce from Demi Moore

LOS ANGELES (AP) — Ashton Kutcher filed court papers Friday to end his seven-year marriage to actress Demi Moore.

The actor’s divorce petition cites irreconcilable differences and does not list a date that the couple separated. Moore announced last year that she was ending her marriage to the actor 15 years her junior, but she never filed a petition.

Kutcher’s filing does not indicate that the couple has a prenuptial agreement. The filing states Kutcher signed the document Friday, hours before it was filed in Los Angeles Superior Court.

Kutcher and Moore married in September 2005 and until recently kept their relationship very public, communicating with each other and fans on the social networking site Twitter. After their breakup, Moore changed her name on the site from (at)mrskutcher to (at)justdemi.

Kutcher currently stars on CBS’ “Two and a Half Men.”

Messages sent to Kutcher’s and Moore’s publicists were not immediately returned Friday.

Moore, 50, and Kutcher, 34, created the DNA Foundation, also known as the Demi and Ashton Foundation, in 2010 to combat the organized sexual exploitation of girls around the globe. They later lent their support to the United Nations’ efforts to fight human trafficking, a scourge the international organization estimates affects about 2.5 million people worldwide.

Moore was previously married to actor Bruce Willis for 13 years. They had three daughters together — Rumer, Scout and Tallulah Belle — before divorcing in 2000. Willis later married model-actress Emma Heming in an intimate 2009 ceremony at his home in Parrot Cay in the Turks and Caicos Islands that attended by their children, as well as Moore and Kutcher.

Kutcher has been dating former “That ’70s Show” co-star Mila Kunis.

The divorce filing was first reported Friday by People magazine.

___

Anthony McCartney can be reached at http://twitter.com/mccartneyAP.

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World Music Awards postponed due to visa issues, Newtown tragedy

LOS ANGELES (Reuters) – The World Music Awards was postponed on Thursday due to “logistical and multiple visa issue,” organizers said, two days before the event was scheduled to be held in Miami.

Event producers John Martinotti and Marcol International said in a statement that the December 22 awards ceremony also was being delayed in the wake of the elementary school shooting in Newtown, Connecticut, last week.

“We are sorry for any inconvenience but this decision had to be made due to logistical and multiple visa issues and in view of this week’s national mourning. Fans have been a great support to the artists and have voted online in huge numbers,” the producers said in a statement.

The winners in categories ranging from world’s best song, world’s best artists and entertainer of the year, are picked by fans who vote online. The statement said that votes will continue to be collected until a new date is set for the show.

This year’s nominees include Usher, Justin Bieber, Nicki Minaj, Rihanna and Chris Brown. Past winners include Whitney Houston, Mariah Carey and Michael Jackson.

The awards ceremony, founded in 1989 and hosted by Monaco’s Prince Albert II, has primarily taken place in Monte Carlo and proceeds from the show go to charity. This year, show producers decided to move it to Marlins Park Stadium in Miami.

(Reporting By Piya Sinha-Roy, editing by Eric Kelsey)

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Naomi Watts pulls off “The Impossible” to critical acclaim

LOS ANGELES (Reuters) – Days after the devastating 2004 Indian Ocean tsunami, actress Naomi Watts took part in a fundraising telethon spearheaded by George Clooney to help the region’s hundreds of thousands of people in 14 nations whose lives were shattered.

Little did Watts know that eight years later she would be starring in “The Impossible,” out in the U.S. movie theaters on Friday, about a real family’s experience in Thailand. The tsunami and earthquake killed more than 5,000 people, and resulted in 2,800 missing in that country alone.

Yet when the actress was first approached to star in the film, directed by Spanish filmmaker Juan Antonio Bayona, she hesitated.

“I thought, how do you make a movie about a tsunami without it becoming some sort of spectacular disaster movie?” Watts, 44, told Reuters. “That would be so wrong.”

However once Watts read the script, she said was moved by the story based on the real-life Spanish family of Maria Belon, her husband Enrique Alvarez – played by Ewan McGregor in the movie – and their three sons.

Belon’s family were spending their Christmas holiday in Thailand when the tsunami hit. The film follows their struggle to survive, injured and separated, in the aftermath and their perseverance in finding each other amidst the chaos.

“I felt a huge amount of pressure because of the responsibility to Maria’s story,” said Watts. “And on her back, she carries the stories of everybody else because hers is connected to the lives of hundreds of thousands of people. I felt a sense of responsibility.”

PLAUDITS FOR WATTS’ PERFORMANCE

The British-born, Australian actress delivered, despite her fears. So far, her performance has earned Watts best actress nominations from the Golden Globes, the Screen Actors Guild and the Broadcast Film Critics Association.

The New York Observer wrote in its review that “Watts seems almost spiritually committed to her role” while The Hollywood Reporter said she “packs a huge charge of emotion as the battered, ever-weakening Maria whose tears of pain and fear never appear fake or idealized.”

Watts credits the real Maria Belon for being “an open book” when it came to recalling her personal experience during that harrowing time.

The two met before shooting began, and Belon was on the film set. Belon, a physician in Spain, also wrote detailed letters chronicling her experience, including taking refuge in a tree and the Thai villagers who discovered her weak and injured body.

One of the more challenging aspects of the shoot was recreating the tsunami, a 10-minute sequence in the film that Watts said took six weeks to shoot on location in Spain. Rather than creating the tidal wave digitally, actors were anchored in water tanks with the current pushing at them and “debris being chucked at you.”

Watts said that while the challenge of shooting the sequence was incomparable to the suffering of those who went through the ordeal in 2004, it was “physically the most demanding thing I’ve ever done.”

There was much more dialogue scripted during that sequence but “you were struggling to breathe and we quickly learned that once you open your mouth, water is going in and nothing is coming out.

“Though it was difficult, I’m grateful we got that kind of level of fear and intensity,” she added.

What offset the intensity during the shoot was having her sons Sasha, 5, and Sammy, 4, visiting Watts on the set. “We had them paint stuff on themselves like scars and wounds, then rub them off so they could see it wasn’t real,” recalled Watts.

It’s a far cry from the way she used to approach her work before having kids, such as her Oscar-nominated performance as a grief-stricken mother the 2003 film “21 Grams.”

“I was taking everything home with me, staying up all hours, writing, thinking, researching … just living with torment,” Watts recalled of that time. “I can’t live like that at this point in my life with little ones. I am a mom of two small kids and once I put the key in the door, it’s my duty to be totally present.”

(Editing By Jill Serjeant; Editing by Alden Bentley)

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Participant Media starts cable network for millenials

NEW YORK (TheWrap.com) – Participant Media, the company behind films including “Lincoln” and “The Help,” is starting a new cable network targeting millenial viewers, with content from Davis Guggenheim and The Jim Henson Company, among others.

It will be led by Evan Shapiro, who joined Participant in May after serving as President of IFC and Sundance Channel.

Participant has bought The Documentary Channel and entered into an agreement to acquire the distribution assets of Halogen TV from The Inspiration Networks. No terms were disclosed.

The combined and rebranded properties are expected to reach more than 40 million subscribers once the yet-to-be-named network launches in the summer.

“The goal of Participant is to tell stories that serve as catalysts for social change. With our television channel, we can bring those stories into the homes of our viewers every day,” said Participant chairman and founder Jeff Skoll.

Those producing content for the new network also include producer Brian Graden, The Jim Henson Company’s Brian Henson, columnist and blogger Meghan McCain, Morgan Spurlock, Gotham Chopra, filmmaker Mary Harron, writer/director Timothy Scott Bogart, and Cineflix Media, a TV producer and distributor in which Participant Media controls an equity interest.

Guggenheim directed the Oscar winning documentary “An Inconvenient Truth” for Participant.

“Our content will be specifically designed for the viewers that the pay TV eco-system is most at risk of losing,” said Shapiro. “We all know that Millennials are changing how media is consumed. However, they also have the strong desire and inimitable capacity to help change the world. Our research shows that there is a whitespace in the television landscape and we believe that a destination for ‘the next greatest generation’ will be a win for our affiliate partners, advertisers and the creative community.”

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‘Hobbit’ bests ‘Rings’ with $84.8 million opening

NEW YORK (AP) — Peter Jackson‘s “The Hobbit” led the box office with a haul of $ 84.8 million, a record-setting opening better than the three previous “Lord of the Rings” films.

The Warner Bros. Middle Earth epic was the biggest December opening ever, surpassing Will Smith’s “I Am Legend,” which opened with $ 77.2 million in 2007, according to studio estimates Sunday. “The Hobbit: An Unexpected Journey” also passed the December opening of “Avatar,” which opened with $ 77 million. Internationally, “The Hobbit” also added $ 138.2 million, for an impressive global debut of $ 223 million.

Despite weak reviews, the 3-D adaptation of J. R. R. Tolkien‘s first novel in the fantasy series was an even bigger draw than the last “Lord of the Rings” movie, “The Return of the King.” That film opened with $ 72.6 million. “The Hobbit” is the first of another planned trilogy, with two more films to be squeezed out of Tolkien’s book.

While Jackson’s “Rings” movies drew many accolades — “The Return of the King” won best picture from the Academy Awards — the path for “The Hobbit” has been rockier. It received no Golden Globes nominations on Thursday, though all three “Rings” films were nominated by the Hollywood Foreign Press Association for best picture.

Particularly criticized has been the film’s 48-frames-per-second (double the usual rate), a hyper-detailed look that some have found jarring. Most moviegoers didn’t see “The Hobbit” in that version, though, as the new technology was rolled out in only 461 of the 4,045 theaters playing the film.

Regardless of any misgivings over “The Hobbit,” the film was a hit with audiences. They graded the film with an “A” CinemaScore.

“What’s really important, what makes this special is the CinemaScore,” said Dan Fellman, president of domestic distribution for Warner Bros. “All these things point to a great word of mouth. We haven’t even made it to the Christmas holidays yet. Kids are still in school this week.”

The strong opening culminated a long journey for “The Hobbit,” which was initially delayed when a lawsuit dragged on between Jackson and “Rings” producer New Line Cinema over merchandizing revenue. At one point, Guillermo del Toro was to direct the film with Jackson producing. But eventually the filmmaker opted to direct the movie himself, originally envisioning two “Hobbit” films. The production also went through the bankruptcy of distribution partner MGM and a labor dispute in New Zealand, where the film was shot.

The long delay for “The Hobbit,” nearly a decade after the last “Lord of the Rings” film, made it “one of those movies that had everyone scratching their heads as to how it would open,” said Paul Dergarabedian, an analyst for box-office tracker Hollywood.com.

“It’s been a decade since the ‘Lord of the Rings‘ trilogy concluded,” said Dergarabedian. “There’s been so much anticipation for this film and having Peter Jackson back at the helm just made it irresistible both to fans and the non-initiated alike.”

“The Hobbit” was far and away the biggest draw in theaters, with no other new wide release. Paramount’s “Rise of the Guardians” continued to draw the family crowd, with $ 7.4 million, bringing its cumulative total to $ 71.4 million. The Oscar contender “Lincoln” from Walt Disney crossed the $ 100 million mark, adding another $ 7.2 million to bring its six-week total to $ 107.9 million. And Sony‘s James Bond film “Skyfall,” with another $ 7 million domestically, drew closer to a global take of $ 1 billion.

The box office continued to be on the upswing and with anticipated releases like “Les Miserables,” ”Django Unchained” and “The Guilt Trip” approaching in the holiday moviegoing season. Dergarabedian expects the year to break the 2009 record of $ 10.6 billion. With some $ 10.2 billion in revenue thus far, he said, “We’re on track to be in that realm.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Hollywood.com. Where available, latest international numbers are also included. Final domestic figures will be released Monday.

1. “The Hobbit: An Unexpected Journey,” $ 84.8 million ($ 138.2 million international).

2. “Rise of the Guardians,” $ 7.4 million ($ 20.1 million international).

3. “Lincoln,” $ 7.2 million.

4. “Skyfall,” $ 7 million ($ 12.2 million international).

5. “Life of Pi,” $ 5.4 million ($ 11.5 million international).

6. “The Twilight Saga: Breaking Dawn, Part 2,” $ 5.2 million ($ 13 million international).

7. “Wreck-It Ralph,” $ 3.3million ($ 4.7 million international).

8. “Playing for Keeps,” $ 3.2 million ($ 1.4 million international).

9. “Red Dawn,” $ 2.4 million.

10. “Silver Linings Playbook,” $ 2 million ($ 370,000 international).

___

Estimated weekend ticket sales at international theaters (excluding the U.S. and Canada) for films distributed overseas by Hollywood studios, according to Rentrak:

1. “The Hobbit: An Unexpected Journey,” $ 138.2 million.

2. “Rise of the Guardians,” $ 20. 1 million.

3. “The Twilight Saga: Breaking Dawn, Part 2,” $ 13 million.

4. “Skyfall,” $ 12.2 million.

5. “Life of Pi,” $ 11.5 million.

6. “Wreck-It Ralph,” $ 4.7 million.

7. “26 Years,” $ 3.5 million.

8. “Whatcha Wearin’? (My P.S. Partner),” $ 3 million.

9. “Tutto Tutto Niente Niente,” $ 2.4 million.

10. “Pitch Perfect,” $ 2.3 million.

___

Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Chicano rock pioneers Los Lobos marking 40 years

LOS ANGELES (AP) — They are seen as the progenitors of Chicano rock ‘n’ roll, the first band that had the boldness, and some might even say the naiveté, to fuse punk rock with Mexican folk tunes.

It was a group called Los Lobos that had the unusual idea of putting an accordion, a saxophone and something called a bajo sexto alongside drums and Fender Stratocaster guitars and then blasting a ranchera-flavored folk tune or a Conjunto inspired melody through double reverb amps at about twice the volume you’d normally expect to hear.

“They were Latinos who weren’t afraid to break the mold of what’s expected and what’s traditionally played. That made them legendary, even to people who at first weren’t that familiar with their catalog,” said Greg Gonzalez of the young, Grammy-winning Latino-funk fusion band Grupo Fantasma.

To the guys in Los Lobos, however, the band that began to take shape some 40-odd years ago in the hallways of a barrio high school is still “just another band from East LA,” the words the group has used in the title of not one but two of its more than two dozen albums.

As a yearlong celebration of Los Lobos‘ 40th anniversary gets under way, having officially begun on Thanksgiving, much is likely to be made of how the band began as a humble mariachi group, toiling anonymously for nearly a decade at East LA weddings and backyard parties before the unlikely arrival of rock stardom.

That’s, well, sort of true.

For long before there was mariachi in Los Lobos‘ life, there was power-chord rock ‘n’ roll. Before the Latin trio Las Panchos had an impact, there was Jimi Hendrix.

“I actually went to go see him when I was 14 or 15,” says drummer-guitarist and principal lyricist Louie Perez, recalling how he had badgered his widowed mother to spend some of the hard-earned money she made sewing clothes in a sweatshop on a ticket to a Hendrix show.

“I sat right down front,” he recalls, his voice rising in excitement. “That experience just sort of rearranged my brain cells.”

About the same time, he had met a guitarist named David Hidalgo in an art class at James A. Garfield High, the school made famous in the 1988 film “Stand and Deliver” that profiled Jaime Escalante’s success in teaching college-level calculus to poor barrio kids. Soon the two had recruited fellow students Conrad Lozano and Cesar Rosas, both experienced musicians.

“Cesar had played in a power trio,” Perez recalls, while Lozano had been playing electric bass guitar for years.

It was sometime in November 1973 (no one remembers the exact day so they picked Thanksgiving) when the band is believed to have been born.

And the group might have stayed just another garage band from East LA, had it not been for a Mexican tradition called Las Mananitas.

“It’s a serenade to someone on their birthday,” Perez explains, and the group members’ mothers had birthdays coming up.

“So we learned about four or five Mexican songs and we went to our parents’ homes and did a little serenade,” Hidalgo recalled separately.

They were such a hit that they began scouring pawn shops for genuine Mexican instruments and really learning to play them.

Because they were at heart a rock ‘n’ roll band, however, they always played the music a little too loud and a little too fast. That was acceptable at the Mexican restaurants that employed them, until they decided to break out the Stratocaster guitars they had so coveted as kids.

“They said, ‘Well, that’s not what we hired you for,’” Perez says, chuckling.

So they headed west down the freeway to Hollywood, where initially the reaction wasn’t much better.

Saxophonist Steve Berlin recalls seeing the hybrid group showered with garbage one night when they opened for Public Image Ltd. Two years later, however, when they opened for Berlin’s group the Blasters, the reaction was different.

“It was quite literally an overnight success kind of thing,” the saxophonist recalls. “By the next morning, everybody I knew in Hollywood, all they were talking about was this band Los Lobos.”

A few nights later, they asked Berlin if he might jam with them. They were working up some tunes melding punk rock with Norteno, a Latin music genre that uses an accordion and a saxophone, and they needed a sax player.

For his part, Berlin says, he had never heard of Norteno music.

Something clicked, however, and soon he was producing the group’s first true rock album, 1984′s “How Will the Wolf Survive?” At the end of the sessions he was in the band.

The next 28 years would be pretty much the same kind of up-and-down ride as the first 12 were.

The group became international rock stars in 1987 with their version of the Mexican folk tune “La Bamba” for the soundtrack of the film of the same name. They melded 1950s teen idol Ritchie Valens’ rock interpretation with the original Son Jarocho style and sent the song to No. 1.

A two-year tour and a couple albums that nobody bought followed, leaving the group broke and disillusioned.

So they poured their anger and disillusionment into the lyrics and power chords of “Kiko,” the 1992 album now hailed as their masterpiece. A new version, recorded live, was released earlier this year.

The influence of Los Lobos‘ cross-cultural work can be heard to this day in the music of such varied young Latino groups as the hip-hop rockers Ozomatli, the Son Jarocho-influenced alt-music band Las Cafeteras and the Latino pop-rock group La Santa Cecilia, says Josh Kun, an expert on cross-border music.

“All of these bands inherited, wittingly or not, the experimental and style crossing instincts that Los Lobos proved were possible while hanging onto and developing your roots as a Mexican-American group,” said Kun, who curated the Grammy Museum’s recent “Trouble in Paradise” exhibition that chronicled the modern history of LA music.

For Los Lobos, winner of three Grammys, that was just the natural way of doing things for guys, Perez says, who learned early on that they didn’t fit in completely on either side of the U.S.-Mexico border.

“As Mexican-Americans in the U.S. we’re not completely accepted on this side of the border. And then on the other side of the border it’s like, ‘Well, what are you?’” he mused.

“So if that’s the case,” he added brightly, “then, hey, we belong everywhere.”

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Singer-songwriter Carole King to receive U.S. Gershwin prize

(Reuters) – American singer-songwriter Carole King will be awarded the Library of Congress Gershwin Prize for Popular Song, the U.S. national library said on Thursday.

The multiple Grammy Award winner co-wrote her first No. 1 hit at age 17 with then-husband Gerry Goffin and was the first female solo artist to sell more than 10 million copies of a single album, with her 1971 release “Tapestry.”

The prize honors individuals for lifetime achievement in popular music, the library said. It is named after songwriting brothers George and Ira Gershwin.

King, now 70, topped the charts with the song “It’s Too Late” in 1971, but is best known for her work performed by others, including “You’ve Got a Friend” by James Taylor and “(You Make Me Feel Like) A Natural Woman” by Aretha Franklin.

“I was so pleased when the venerable Library of Congress began honoring writers of popular songs with the Gershwin Prize,” King said in a statement. “I’m proud to be the fifth such honoree and the first woman among such distinguished company.”

King and Goffin wrote some the biggest hits of the 1960s before their nine-year marriage ended in 1968. They rose to prominence in 1960 writing “Will You Love Me Tomorrow” for the Shirelles.

The duo also scored hits with “Take Good Care of My Baby,” performed by Bobby Vee in 1961, “The Loco-Motion,” performed by Little Eva in 1962 and “Pleasant Valley Sunday,” performed by The Monkees in 1967, among others.

New York-born King did not hit it big as a singer until 1971, when “Tapestry” topped the U.S. album charts for 15 weeks, then a record for a female solo artist.

Past recipients of the award include Paul Simon, Stevie Wonder, Paul McCartney and songwriting tandem Burt Bacharach and Hal David.

(Reporting by Eric Kelsey; Editing by Jill Serjeant and Xavier Briand)

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A Minute With: Director Peter Jackson on shooting “The Hobbit”

LOS ANGELES (Reuters) – After bringing J.R.R. Tolkien‘s “The Lord of the Rings” trilogy to life, filmmaker Peter Jackson is back in the world of Middle Earth with the author’s prequel, “The Hobbit.”

The three-film series is due to open in U.S. theaters on Friday with “The Hobbit: An Unexpected Journey.”

The Oscar-winning director, 51, told Reuters about the 3D film, including the 48 frames per second (fps) format he used, which was widely debated by fans and critics.

Q: You originally intended “The Hobbit” to only be two parts. Why stretch it out to three?

A: “Back in July, we were near the end of our shoot and we started to talk about the things that we had to leave out of the movies. There’s material at the end of ‘The Return of the King’ (the final part of ‘The Lord of the Rings‘ trilogy) in the appendices that takes place around the time of ‘The Hobbit.’

“We were thinking, this is our last chance because it’s very unlikely we’re ever going to come back to Middle Earth as filmmakers. So we talked to the studio and next year we’re going to be doing another 10 to 12 weeks of shooting because we’re now adapting more of Tolkien’s material.”

Q: At what point did you decide you would direct the film yourself after originally handing it to Guillermo del Toro?

A: “At the time (we wrote the script), I was worried about repeating myself and worried that I was competing with myself. I thought it would be interesting to have another director with a fresh eye coming in and telling the story. But after Guillermo left, having worked on script and the production for well over a year at that stage, I was very emotionally attached to it. I just thought, this is an opportunity I’m not going to say no to.”

Q: You hired Gollum actor Andy Serkis to do second unit directing on the film, something he has never done before. What made you hand the task to a novice?

A: “I know how strongly Andy has been wanting to direct. One of the problems with second unit is that you tend to have conservative footage given to you by the director. They play it safe. I knew that I wouldn’t get that from Andy because he’s got such a ferocious energy. He goes for it and doesn’t hold back. I knew that if Andy was the director I would be getting some interesting material, that it would have a life and energy to it.”

Q: What inspired you to make a film in 48 fps?

A: “Four years ago I shot a six or seven minute King Kong ride for Universal Studios’ tram ride in California. The reason we used the high frame rate was that we didn’t want people to think it’s a movie. You want that sense of reality, which you get from a high frame rate, of looking in to the real world. At the time, I thought it would be so cool to make a feature film with this process.”

Q: Not everyone has embraced “The Hobbit” in 48 fps.

A: “For the last year and a half there’s been speculation, largely negative, about it and I’m so relieved to have gotten to this point. I’ve been waiting for this moment when people can actually see it for themselves. Cinephiles and serious film critics who regard 24 fps as sacred are very negative and absolutely hate it. Anybody I’ve spoken to under the age of 20 thinks it’s fantastic. I haven’t heard a single negative thing from the young people, and these are the kids that are watching films on their iPads. These are the people I want to get back in the cinema.”

Q: Why all the hoopla over a frame rate?

A: “Somehow as humans, we have a reaction to change that’s partly fear driven. But there are so many ways to look at movies now and it’s a choice that a filmmaker has. To me as a filmmaker, you’ve got to take the technology that’s available in 2012, not the technology we’ve lived with since 1927, and say how can we enhance the experience in the cinema? How can we make it more immersive, more spectacular?”

Q: George Lucas sold Lucasfilm to Disney for $ 4 billion. Do you think you will sell your New Zealand facility Weta someday?

A: “I would if I want to retire at some stage and want to have a nice easy life, which will hopefully happen one day. But in the foreseeable future, the fact that I’m an owner of my own digital effects facility is a fantastic advantage for me.”

Q: How so?

A: “When we asked the studio if we could shoot ‘The Hobbit‘ at 48 fps, we promised the budget would be the same. But it actually does have a cost implication because you’ve got to render twice as many frames and the rendering takes more time. The fact that we owned Weta and could absorb that in-house was actually part of the reason we were able to do the 48 frames.”

(Editing by Patricia Reaney)

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How “Life of Pi” animators visualized Ang Lee’s blank slate

LOS ANGELES (TheWrap.com) – “Life of Pi” is a movie that has the proverbial cast of thousands… of animals, that is. In one shot set on the ocean, there are 40,000 flying fish. In another one set on a floating island, there are 60,000 meerkats. And not one of them was living and breathing, of course.

“No real meerkats were used,” senior animation supervisor Erik-Jan De Boer told the audience at an effects-themed Q&A following TheWrap’s screening of the movie at the Landmark Theatre on Monday night. “Except of course we went to meerkat sanctuaries and zoos to shoot a lot of reference footage…”

“And the two of us watched every episode of ‘Meerkat Manor,’” interrupted visual effects supervisor Bill Westenhofer. “We were gonna watch one, but it gets addictive.”

That was about all the time these two had to indulge in reality TV during the long gestation and post-production of Pi, which establishes a new benchmark for awe-inspiring digital trickery – particularly in 3D, or “stereo,” as Westenhofer and De Boer refer to the effects-complicating process.

“In total,” De Boer told TheWrap’s editor-in-chief Sharon Waxman, “we animated 580 animals in about 290 shots for the movie, which includes a giraffe, a fox, a fish, and of course the hyena and orangutan.” Not to mention the little matter of the tiger, “Richard Parker,” whose appearances as one of the movie’s co-leads are 15 percent real, 85 percent digital.

That’s not including the aforementioned meerkat and flying fish extras, brought to life via a software program appropriately titled Massive. (If only it had been around in Cecil B. DeMille‘s day.)

“The flying fish sequence is where we start to take some artistic liberties, since Pi’s telling you a tale,” said Westenhofer. “Maybe there were a thousand flying fish in reality, or even a hundred, but you’re seeing his mind’s eye, which saw this multitude, so we have 40,000 in one particular spot. The Massive software is almost artificial intelligence, where you write a little program that’s the brain for each individual fish, and it decides if it’s going to hop out of the water, and how long it’s going to fly; if it sees someone in its path, it does avoidance.”

But before any of that was animated, there was the live-action filming that took place on a 70 meter-by-30 meter wave tank that director Ang Lee had specially built for the film. And there, said Westenhofer, “you had (star) Suraj Sharma on a boat with two guys in rubber rafts just chucking rubber fish at him as hard as they possibly can. It’s a good mixture of the low-tech and the high-tech.”

Of course, it wasn’t fish but previous experience with big cats that got Rhythm & Hues the assignment from Lee to go from lions to tigers and Pi. “He knew we had done the lion in the first Narnia movie. He asked, ‘Does a digital character look more or less real in 3D?’ We looked at each other and thought that was a pretty good question.”

As well as a leading one, since Lee had already made the decision at that point, in 2009, to shoot in 3D. “We took one of the shots and rendered it in stereo and said ‘Yeah, it gives it a little more presence and makes it more real.’” Good answer! “That was the start of our relationship with him.”

Although “Life of Pi” doesn’t exactly go for documentary-style realism, every effort was made to keep the tiger’s actions and reactions to what experts and trainers told them a creature would really do in those situations. Not having him spout any Aslan-style aphorisms was a nice start on that de-anthropomorphizing.

“We always strive for photorealism,” said De Boer – even when they’re working on a Narnia or Cats and Dogs. “Motion-wise we strive for perfect physicality and try to get that animal to behave as characteristically as possible – and then we always have to make them talk or dance or do something really weird, and the realism goes out the window and everybody knows that we were there. For me what was really cool about this movie is not only do we stick with the real animal but we also have to intercut it with a live-action animal, so that made the challenge for us that much bigger.”

Added Westenhofer, “We told the crew we wanted to work ourselves out of any recognition by making it look as real as possible.”

It was at least as big of a challenge, as far as Westenhofer was concerned, to make the digital waves match or amplify the real tank waves – and to create the film’s skies completely from scratch. “There’s not many films where we spend this much time on the water. I think ‘Old Man and the Sea’ harkens back! But even with ‘Titanic,’ you’ll see the water and then go inside.” For much of “Life of Pi,” “inside” amounts to a few furtive peeks under a tarp.

Hence what, on a project like this, becomes a fine line where digital effects providers are also, to some extent, taking over the role of cinematography and art direction. Going to work on filling up these blue-screen shots, the Rhythm & Hues people might well have been humming Bruce Springsteen’s “Empty Sky” to themselves.

“What I’m absolutely most proud of is with these visual effects is that we were given a blank slate for a lot of these shots,” Westenhofer told the audience. “We were given a boat in front of a blue screen, and it was the visual effects team who really were a lot of the creative innovators on the movie. Certainly it was Ang’s vision we were creating. But we’d start a shot, and though Ang absolutely knows what he wants, his communication is sometimes not as specific as you want. Instead of saying ‘I want a three-quarters cloudy sky with yellow over here and some blue,’ he’d say ‘I want a pensive sky.’

Or, ‘I want it to be operatic.’ So it would be our job to go translate that, and the team did a great job of supplying that.

“And Claudio Miranda did an awesome, awesome job on the cinematography, but a lot of the cinematography on the ocean is digital effects.”

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