Oscilloscope buys 'Hello, I Must Be Going'

'Hello I Must Be Going' debuted at the Sundance Film Festival.Oscilloscope has acquired North American rights to Todd Louiso's ''Hello, I Must Be Going,'' which premiered opening night at the Sundance Film Festival.The drama, starring Melanie Lynskey, centers on a thirty-something divorcee who moves back in with her parents, only to find romance in a local teenager. ''We loved it from the moment we saw it at Sundance, and we are thrilled to be working with this great filmmaking team to bring it out into the world,'' Oscilloscope said in a statement.Written by Sarah Koskoff, ''Hello, I Must Be Going'' co-stars Blythe Danner and newcomer Christopher Abbott and was produced by Mary Jane Skalski and Hans Ritter. Pic screened in Sundance's U.S. Dramatic Competition section and will likely bow in U.S. theaters this August.''In making the film, we became a close knit group,'' said Skalski in a statement. ''Todd, Sarah, Hans and I are thrilled to bring Oscilloscope into the family.''Oscilloscope's upcoming 2012 slate includes Andrea Arnold's ''Wuthering Heights,'' Matt Ross's ''28 Hotel Rooms'' and Ryan O'Nan's ''Brooklyn Brothers Beat the Beast.''Deal was negotiated by WME Global.Sundance Video Interview: Contact Stuart Oldham at stuart.oldham@variety.com

Start looking at The Actor-brad Pitt and Armie Hammer within the Lone Ranger

The very first picture of Armie Hammer and The Actor-brad Pitt within the Lone Ranger continues to be tweeted around the world, by producer Jerry Bruckheimer!Using his Twitter account to show the brand new look from the duo, it's obvious Tonto, performed by The Actor-brad Pitt, looks a bit miffed he's saddled with Armie Hammer's guy from the law.Having a crow mounting his dark matted tresses, it appears like Depp might be playing Jack Sparrow again, but we are able to presume you will see less Keith Richards in the performance because the Ranger's Native American companion.On director responsibilities is Gore Verbinski, who's labored with Depp on three from the Pirates From The Caribbean movies and Rango. For Hammer, this can mark his first collaboration using the pair, as well as his initial walk into blockbuster acting (if you do not count Mirror Mirror).Helena Bonham Carter, Tom Wilkinson and William Fichtner will also be starring using the boys within this adventure tale which will go ahead and take Lone Ranger and Tonto over the American flatlands to create justice to some corrupt system.There is a little wait to determine these boys for action though: the giant screen adaptation continues to be scheduled for any May 2013 release. Let us hope Bruckheimer keeps these visual tweets coming.

New 'Prometheus' Still Discloses Stunning Secrets

I am likely to bare this quick, since the less stated, the greater. Here is a high-res still from "Prometheus," Ridley Scott's grand go back to sci-fi that absolutely, certainly includes a strong link with the "Alien" franchise. Following Peter Weyland's TED Talk a week ago, the official website for Weyland Corp. was released, which still was among the awards inside. Frankly, I am unsure of what we are searching at hereSpace Jockey-related? A glance within the Prometheus itself?and extremely, I'd rather not know. For me personally, the less I understand about "Prometheus," the greater. And So I allow you, dear visitors, to take a position just as much or less than you would like. But when little else, please, just admire the glorious photo. It's positively stunning. Because of io9 for pointing it. "Prometheus" will take off on June 21, 2012.

Jon Hamm: Billionaires Feuding Stored 'Mad Men' From the Air

Following a lengthy absence, "Mad Males" finally returns for any fifth season on March 25 -- to start dating ? that's doubtless marked within the calendars from the show's superfans because they wait with anticipation over what goes on next within the untidy, sophisticated saga of Don Draper and company.Inside a guest appearance on Thursday's Letterman, Jon Hamm -- back around the marketing circuit for that AMC series -- places blame billionaire-on-billionaire squabbles for that 17-month delay. (The growing season-four finale broadcast in October 2010.)"These choices get made ... in a much greater pay grade than I am permitted to take part in,Inch Hamm described on CBS' "Late Show." "I have referred to it thusly, and I have become in danger, so I'll try it again exactly the same way: when billionaires fight, it requires considerably longer to, like, settle. Therefore we had some loaded people identifying how lengthy we'd be from the air.""Mad Males" is "carried out with production," stated Hamm, adding: "Season five is incorporated in the books.""The entire year does not really mean anything," Weiner stated from the '60-set drama. "It does not. I am not carrying out a lesson in history. The one thing that I am looking forward to is I needed and give people a large helping. I needed a 2-hour premiere. It is a 'Mad Men' movie -- I do not think anyone's likely to think it's two episodes spliced together. There's a tale that begins in the center of it (but otherwise) it's one story. The start and also the ending are based on one another."The premiere, compiled by Weiner and directed by Jennifer Getzinger, will start that Sunday at 9 p.m. The next week's episode, coming back to the regular 10 p.m. timeslot, marks the Hamm's directorial debut. The Hollywood Reporter

Actor Erland Josephson dies

Published: Sun., February. 26, 2012, 12:04pm PTBy Connected PRESS Swedish actor Erland Josephson, who worked with with legendary film director Ingmar Bergman in additional than 40 films and plays, died in Stockholm on Saturday carrying out a lengthy fight against Parkinson's disease. He was 88. Born right into a group of artists and culture employees in Stockholm, Josephson was 16 as he first met Bergman, who had been pointing a manufacture of "The Merchant of Venice" by which Josephson was taking part being an amateur actor. Although he didn't have any formal acting education, Josephson ongoing to look in a number of Bergman stage plays within the nineteen forties and '50s younger crowd were built with a minor part in 1946 film "It Rains on Our Love." Within the late '50s he performed bigger roles in Bergman's films "The Magician" and "Edge of Existence," but Josephson first shot to worldwide fame using the role of Johan in "Moments From the Marriage," in 1973. Next, he received purports to come in many worldwide film productions and performed Friedrich Nietzsche in Italian director Liliana Cavani's 1977 effort "Beyond Good and Evil." Josephson made an appearance in Philip Kaufman's 1988 film "The Intolerable Lightness to beInch making memorable performances in Andrey Tarkovskiy's eighties films "Nostalghia" and "The Sacrifice." The actor won several Swedish film awards and received an honorary award in the Rimini film festival in 1986. 2 yrs later, he received the Off Broadway Theater Award for the best performance for his role as Gajev in Peter Brooks' NY manufacture of "Cherry Farm." Josephson also released many books and autobiographical books and 2 poetry collections, and that he composed some 40 scripts for stage, tv and radio. He offered as mind of Sweden's Royal Dramatic Theater between 1966 and 1975 and was director from the Swedish Film Institute within the the nineteen nineties. Josephson is made it by his wife Ulla Aberg and five children. Contact the range newsroom at news@variety.com

Watch My Show: Full Metal Jousting's Craig Piligian Answers Our Showrunner Survey

Dave Annable Brothers & Sisters star Dave Annable is checking in to ABC's 666 Park Avenue pilot, TVGuide.com has confirmed.TVLine first reported the news.The Complete Pilot Report: ABC's got Mandy Moore, Reba McEntire and Natalie PortmanFrom the producers of The Vampire Diaries, The Secret Circle and Gossip Girl, the supernatural project is based on Gabrielle Pierce's book series about an innocent Midwestern couple, one half of which will be played by Annable, who get hired as resident managers of an Upper East Side apartment building in NY. Terry O'Quinn will play the owner of the building, where the residents have all made deals with the Devil to have their desires fulfilled.David Wilcox will write and executive-produce, alongside Leslie Morgenstein and Gina Girolamo.Annable most recently appeared in What's Your Number?

Start Looking: American Dad's Roger Cruz Would go to Washington

American Father The 2012 race for that presidency got zanier as Roger Cruz, resident alien on Fox's American Father, has tossed his interstellar hat in to the ring. He offers his sights around the pressing issues he'll face within the campaign! TV Guide Magazine: What's your arrange for stimulating the economy?Cruz: My stimulation plan normally involves alligator clamps, a vehicle battery, a bucket of Wesson oil, two free-range chickens, a Swedish tourist and also the third season of Mr. Belvedere. TV Guide Magazine: Boxers or briefs?Cruz: Boxers. No, briefs! Really, each one as lengthy as they are edible. TV Guide Magazine: Who's the very first performer you'd invite towards the Whitened House?Cruz: Justin Timberlake. He's virtually the main reason I am running. During the last many years, I have been getting a dickens of the time getting ahold of him. But he can't keep disregarding me if I am leader, right? TV Guide Magazine: You are a connoisseur of great hairpieces. Which candidate's hair you admire most?Cruz: It isn't an amount playing area. Ron Santorum's the only real candidate who's clearly not putting on a hairpiece. Some will dsicover Santorum's follicular honesty admirable, but my real question is: How can you election for any guy who's so clearly antitechnology? Sign up for TV Guide Magazine now!

BBC nabs NRK's 'Lilyhammer'

LONDON -- The BBC has nabbed another Scandinavian drama skein -- Norwegian pubcaster NRK's breakout hit "Lilyhammer," which bowed inside the U.S. on Netflix. The eight-parter stars Stevie Van Zandt as NY mobster Frank 'The Fixer' Tagliano who moves to Norwegian incorporated inside a witness moving plan. In Blighty, "Lilyhammer" will air on trendy web BBC4, whose signature shows include Danish dramas "The Killing" and "Borgen," both created by Danish pubcaster DR. Henrik Pabst, director of worldwide format acquisition and regional sales director Scandinavia, Benelux, U.K., at distributor SevenOne Worldwide, mentioned: "Wow! Just what a series. First the acquisition to Netflix as well as the outstanding launch in Norwegian -- scoring a thrilling-time high for just about any Norwegian drama series -- now most significantly off it'll be airing round the BBC.""Lilyhammer" bowed on NHK lately drawing 998,000 audiences, an audience share of 56%.BBC purchases topper Sue Deeks known towards the skein as "fresh, funny and offbeat.""Lilyhammer" is produced by Norwegian shingle Rubicon in colaboration with SevenOne Worldwide.The other day the BBC introduced it had bought the second quantity of "Borgen." Contact the number newsroom at news@variety.com

The Assistance Scores Well In The SAG Honours

Viola Davis is better ActressWhile The Artist continues to be getting the honours head lines lately, The Assistance continues to be immediately by using it, in cast terms a minimum of. On Sunday evening in the annual Screen Stars Guild Honours, the film obtained a triple success, with awards likely to Best Supporting Actress Octavia Spencer, Best Actress Viola Davis and also the cast in general. However The Artist wasn't completely ignore: Jean Dujardin obtained Best Actor for his performance as quiet film star George Valentin.Elsewhere within the film section, Christopher Plummer obtained another award, taking home Best Supporting Actor for novices. And Harry Potter And Also The Deathly Hallows really won something, nabbing Best Stunt Ensemble.Telly smart, it had been additionally a night for Boardwalk Empire, which walked away using the Best Drama Cast award and finest Actor for Steve Buscemi. Jessica Lange was Best Drama Actress for American Horror Story while 30 Rock's Alec Baldwin was Best Comedy Actor and Betty Whitened got Best Comedy Actress for cable show Hot In Cleveland. And Modern Family went home with Best Comedy Cast Award.Browse the full winners' list belowFILMCASTThe HelpBEST ACTORJean Dujardin, The ArtistBEST ACTRESSViola Davis, The HelpBEST SUPPORTING ACTORChristopher Plummer, BeginnersBEST SUPPORTING ACTRESSOctavia Spencer, The HelpSTUNT ENSEMBLEHarry Potter And Also The Deathly Hallows: Part 2PRIMETIME TELEVISIONBEST DRAMA CASTBoardwalk EmpireBEST COMEDY CASTModern FamilyBEST DRAMA ACTORSteve Buscemi, Boardwalk EmpireBEST DRAMA ACTRESSJessica Lange, American Horror StoryBEST COMEDY ACTOR Alec Baldwin, 30 RockBEST COMEDY ACTRESS Betty Whitened, Hot in ClevelandBEST ACTOR Inside A TV MOVIE/MINISERIES Paul Giamatti, Too Large To FailBEST ACTRESS Inside A TV MOVIE/MINISERIESKate Winslet, Mildred PierceSTUNT ENSEMBLEGame Of ThronesLIFETIME ACHIEVEMENT AWARDMary Tyler Moore

Brad Pitt on 'Moneyball,' Films He Loves, and Exceeding Expectations

Brad Pitt on 'Moneyball,' Films He Loves, and Exceeding Expectations By Jenelle Riley January 25, 2012 Brad Pitt in "Moneyball" Brad Pitt is a bit of a puzzle. One of the best character actors working today, he's trapped in a leading man's bone structure. And his choices defy traditional Hollywood logic; after bursting onto the scene in 1991 as the small-time hustler who seduces Geena Davis in "Thelma & Louise" and as the beatific brother of 1992's "A River Runs Through It," he likely had his pick of big movie roles. Instead, he grew a wild beard, had his front tooth chipped by a dentist, and appeared not to wash his hair for weeks to play a crazed killer in the indie "Kalifornia."Pitt's career would continue this somewhat schizophrenic pattern; for every big-budget blockbuster he appeared in ("Interview With a Vampire: The Vampire Chronicles," "Ocean's Eleven," "Troy"), he would lend his star power to a smaller movie that likely wouldn't have gotten made without his participation ("The Assassination of Jesse James by the Coward Robert Ford," "The Tree of Life"). Sometimes he found projects that combined prestige with box-office appeal, such as "Inglourious Basterds" and "The Curious Case of Benjamin Button." But what seemed most important to Pitt was to work with the best filmmakers in the businessDavid Fincher, Quentin Tarantino, the Coen brothers, Terrence Malick. The size of his roles seemed secondary to being part of a great story.So it's no surprise that Pitt frequently cites great films of the 1970s and filmmakers such as Hal Ashby or actors such as Gene Hackman when talking about the works that inspired him. Last year, Pitt produced and starred in two features that he was drawn to largely because they reminded him of the films he loved growing up. In Malick's experimental drama "The Tree of Life," Pitt won raves for playing the strict father of two boys growing up in 1950s Texas. But it is "Moneyball" that has earned Pitt some of the best reviews of an esteemed career. As Oakland A's general manager Billy Beane, who implemented a scientific formula to assemble a winning baseball team with little money, Pitt charms, rages, and obsesses in a performance that is exhilarating to behold. And just this week, it earned Pitt his third Oscar nomination for acting.It would be easy to resent Pitt, an actor who makes everything he does look so natural. Take it from his "Moneyball" co-star Jonah Hill. "You know what sucks about Brad?" Hill says with a laugh. "Here's what sucks about him: He's super good at acting, he's got a great career, he's a great guy, and he's funnier than me! It's bullshitI am so sick of it. He can't let me have that one thing!"In addition to speaking at a recent Q&A, Pitt sat down with Back Stage to talk about his lengthy career.Back Stage: When did you first realize you wanted to be an actor? Brad Pitt: I grew up in Oklahoma and Missouri, and I just loved film. My folks would take us to the drive-in on summer nights, and we'd sit on the hood of the car. I just had this profound love for storytelling. I think it's just an amazing thing we get to do. We're so complex; we're mysteries to ourselves; we're difficult to each other. And then here's this storytelling that reminds us we're all the same. I consider it such a privilege. Back Stage: Did you have anyone who mentored you or really guided you in those early years? Pitt: When I first moved to L.A., I discovered Roy London. I didn't know anything about the arts, the profession; I had no technique, I knew nothing, I'm fresh from Missouri. I sat in on a few classes, and they just felt a little guru-ish and just didn't feel right to me. Until I met Roy. Back Stage: How did you find him? Pitt: I was taking all these odds jobs, and one of them was driving strippers around to bachelor parties. My job was to get them there, get them home, collect the money, play the music, and catch the clothes. For real. It was a very interesting education and paid really well, so I did it for three months and then decided I was going to move on. The boss said, "All right, but just come in one last night. I need you to do Sunday; I'm in a pinch." And this woman turned out to be dating an actor. I didn't know any actors or know anyone who knew any actors. She said she started this class an actor told her to go to. I asked for the name and went to check it out and felt like this was a really good direction. I learned so much from that man. I miss him. Back Stage: Did he teach a specific method or kind of create his own? Pitt: It was kind of based on Uta Hagen, but I think [Roy] really made it his own. He was tough, lovely, compassionate, tough. I give him full credit for pointing me in this direction. I studied with him for three years, I think, then started getting some work. Then I would work with him individually on projects. He loved film, and he loved storytelling. And he loved the individual and looking at what each person could bring to something.Back Stage: From the beginning of your career, you've made really interesting choices in your roles and collaborators. You could have just made big studio blockbustersand there's nothing wrong with those; I like them Pitt: You and me both. I enjoy them. But I actually wouldn't be very good at them. Back Stage: Why not? Pitt: It's just not my interest. I grew up on certain movies, particular movies that said something to me as a kid from Missouri, movies that showed me places I'd yet traveled, or different cultures, or explained something, or said something in a better way than I could ever say. I wanted to find the movies like that. It was less about a career than finding the films I wanted to see. Back Stage: You obviously play leading men, but I think of you as a character actor Pitt: I appreciate that!Back Stage: But because you are a star, did you ever worry you wouldn't get the character roles? Have you ever felt underrated as an actor? Pitt: No, I thought I could always get there or make that turn as long as they let me stay in the game. Listen, I've been pretty fortunate. And if I've been underrated, it's actually been something I've been able to work with; I can surprise people. It sets me up to exceed expectations, so I don't mind.Back Stage: What's your favorite part about being an actor? Pitt: I'm at an age now where I get to start looking back, I guess. And there are some really amazing people I've been able to hang out with and work with. Hollywood gets dubbed this place of extreme vanity and needinessand I guess it's therebut that's not the crowd I've seen or run with. I've found the most interesting, curious, engaging people in this funny thing we call storytelling. I love working with them, and I love the moment right before "Action" and the bell rings, and you don't know exactly what's going to happen; you just start following a vein of thought. And I love the surprises that come from that. And I love stories. I think it's an amazing thing we get to do; we get to contribute to the Zeitgeist of our time. I don't know how much relevance that haswe're not eradicating T.B.but I don't diminish it either. I think there's really something to getting to tell stories that investigate or laugh at what paradoxes and quizzical things we are.Back Stage: You've also gotten into producing, and spent years trying to get "Moneyball" made. How did the story find its way to you, and what attracted you to it? Pitt: Aaron Sorkin described the making of this film the other day. He said, "There are easy films, there are difficult films, then there's 50 feet of crap, then there's 'Heaven's Gate,' then there's us." It was an arduous undertaking. There was a first attempt at a script, and I felt there was something there, but it was geared to more of a major league kind of slant, more comedic. Then I read the book and became rather obsessed with this man's story, who was labeled a failure in some ways. And these ideas of valuehow we value ourselves, what are we worth to each other, and is this system even accurate? And then we started. Economics is not the most edge-of-your-seat subject matter, so it took us a few years to get it right. And we found [director] Bennett Miller. He's not getting enough credit for how much authorship he has of the film. I think he's going to be one of our best. Back Stage: What was the most unusual or difficult part about making the film? Pitt: Something that I think is particularly interesting to actors: Bennett was intent on bringing in real baseball insiders. Therefore they're not actors, a lot of the baseball players and scouts; they're not trained as we are. And he very wisely said, "Don't say the lines; put them in your own words." Then it became incumbent on us to respond to that, which can be very exhausting. You've got to be on your toes at all times. And these guys know baseball certainly more than we do. The interesting thingand it was the same thing in "Tree of Life," working with kids who didn't know the script and weren't actorsthere's a spontaneity that happens; there's a freshness that happens that's up on the screen that I really, really enjoy. I'm questioning myself how to bring it into future projects, because I think it makes that little bit of difference in what we do become more alive. You are really in the moment. I hope to be able to do more of that. Back Stage: You were also a producer on "Tree of Life." Is it true you didn't originally intend on acting in it? Pitt: Yeah. Our actor fell out, and suddenly the film was in jeopardy, and it was looking like it was going to go away. So I said, "Fuck itI'll do it." That movie was a challenge to get made and get the money for. Terry and I grew up in similar kind of country environments, and we certainly have a kinship.Back Stage: Another director you've collaborated with a lot is David Fincher. Pitt: He's a great friend. Sharp as a knife and wickedly funny. I will absolutely be working with him again. Back Stage: What do you make of his reputation for doing multiple takes of a scene? Pitt: It's not [Laughs.] You know, it's not true. There are times when it's a big technical thing and that happens. But it is this moniker he's received. But once it's down, it's there, it's in concrete. Back Stage: And isn't it a good thing to be able to do lots of takes? Pitt: It can be. But on "Tree of Life" we just did two takes on everything. And the second take was completely different from the first. So I can go either way.Back Stage: Although I'm assuming you haven't had to audition in years, what is your take on the audition experience? Pitt: Bennett talks about this a lot; a lot of times, what it takes to get elected to office has nothing to do with what it takes to govern. I find that true about the auditioning process, as well. You're sitting in a room, and you all kind of look alike, and you're all going over your lines, and you can hear the audition going on inside. And you have these few pages of black lines on white paper, and it says you smile here, you do this there. You start hearing the same thing over and over. Now you think of the people on the other side there, the people that are running the casting sessions. By the third, the fourth, the 10th, the 20th, they're hearing the same thing, and then suddenly somebody comes in and does something different. And it lands. Now you can't be different for different's sake, and this doesn't always work, but you have to separate yourself from the normal read. Of course, it has to be truthful. If it's not truthful, don't waste your time. I think that's a key thing that took me a while to figure out. Back Stage: Is there anything else you know now that you wish you'd known at the beginning of your career? Pitt: When you first get opportunities, suddenly you get surrounded by a lot of people who want to make money off you but also are there to help. But they start telling you so much what you need to be and what you need to do to maintain some idea of career maintenance. When you start out, it's very discombobulating, and you are ill-defined at that point as far as direction, what stories are personal to you. So there's two things I'm saying here; at that point, I wish I knew just to follow what was interesting to me. Because we're actors, we want to tell stories, we want to tell personal stories. And not just something you can plug any one of us in and basically get the same thing. Get into something that's really personal that means something to you, where you have something to say and is something really individualized. I wish I was more aware of that then instead of doing a few things I was told would be good for me. And they weren't, because it left me empty, so I didn't do a good job anyways. I think that's what's key to what we do: It's got to be personal.What's So Funny? At a Jan. 15 Q&A sponsored by Back Stage and SAG Foundation, Brad Pitt and Jonah Hill spoke to a packed house about their work on "Moneyball." One topic of discussion was a blooper reel on the DVD that features Pitt laughing hysterically for almost a full three minutes. The scene in question is one near the end of the film, when Hill tries to show him video of a baseball player who hit a home run without realizing it, and Pitt attempts to collect himself several times, to no avail. When asked what he was laughing about, Pitt put the blame on his co-star. "I can't tell you what he said. It's so wrong. So wrong," Pitt said. "This is the guy who did 'Superbad.' Just head in that direction, then go further." Though he wouldn't reveal what he said, Hill responded, "Movie shoots, sometimes you're there for like 12 or 15 hours, and sometimes you get joy out of trying to make the other person laugh when you're not on camera. I think that is one of the gifts of being an actor, is trying to see how someone handles it when they're getting told the dumbest things on the planet, and they have to actually react like they're watching something serious or they're moved by something. I had a really great time." Quipped Pitt, "I know you did." Brad Pitt on 'Moneyball,' Films He Loves, and Exceeding Expectations By Jenelle Riley January 25, 2012 Brad Pitt in "Moneyball" Brad Pitt is a bit of a puzzle. One of the best character actors working today, he's trapped in a leading man's bone structure. And his choices defy traditional Hollywood logic; after bursting onto the scene in 1991 as the small-time hustler who seduces Geena Davis in "Thelma & Louise" and as the beatific brother of 1992's "A River Runs Through It," he likely had his pick of big movie roles. Instead, he grew a wild beard, had his front tooth chipped by a dentist, and appeared not to wash his hair for weeks to play a crazed killer in the indie "Kalifornia."Pitt's career would continue this somewhat schizophrenic pattern; for every big-budget blockbuster he appeared in ("Interview With a Vampire: The Vampire Chronicles," "Ocean's Eleven," "Troy"), he would lend his star power to a smaller movie that likely wouldn't have gotten made without his participation ("The Assassination of Jesse James by the Coward Robert Ford," "The Tree of Life"). Sometimes he found projects that combined prestige with box-office appeal, such as "Inglourious Basterds" and "The Curious Case of Benjamin Button." But what seemed most important to Pitt was to work with the best filmmakers in the businessDavid Fincher, Quentin Tarantino, the Coen brothers, Terrence Malick. The size of his roles seemed secondary to being part of a great story.So it's no surprise that Pitt frequently cites great films of the 1970s and filmmakers such as Hal Ashby or actors such as Gene Hackman when talking about the works that inspired him. Last year, Pitt produced and starred in two features that he was drawn to largely because they reminded him of the films he loved growing up. In Malick's experimental drama "The Tree of Life," Pitt won raves for playing the strict father of two boys growing up in 1950s Texas. But it is "Moneyball" that has earned Pitt some of the best reviews of an esteemed career. As Oakland A's general manager Billy Beane, who implemented a scientific formula to assemble a winning baseball team with little money, Pitt charms, rages, and obsesses in a performance that is exhilarating to behold. And just this week, it earned Pitt his third Oscar nomination for acting.It would be easy to resent Pitt, an actor who makes everything he does look so natural. Take it from his "Moneyball" co-star Jonah Hill. "You know what sucks about Brad?" Hill says with a laugh. "Here's what sucks about him: He's super good at acting, he's got a great career, he's a great guy, and he's funnier than me! It's bullshitI am so sick of it. He can't let me have that one thing!"In addition to speaking at a recent Q&A, Pitt sat down with Back Stage to talk about his lengthy career.Back Stage: When did you first realize you wanted to be an actor? Brad Pitt: I grew up in Oklahoma and Missouri, and I just loved film. My folks would take us to the drive-in on summer nights, and we'd sit on the hood of the car. I just had this profound love for storytelling. I think it's just an amazing thing we get to do. We're so complex; we're mysteries to ourselves; we're difficult to each other. And then here's this storytelling that reminds us we're all the same. I consider it such a privilege. Back Stage: Did you have anyone who mentored you or really guided you in those early years? Pitt: When I first moved to L.A., I discovered Roy London. I didn't know anything about the arts, the profession; I had no technique, I knew nothing, I'm fresh from Missouri. I sat in on a few classes, and they just felt a little guru-ish and just didn't feel right to me. Until I met Roy. Back Stage: How did you find him? Pitt: I was taking all these odds jobs, and one of them was driving strippers around to bachelor parties. My job was to get them there, get them home, collect the money, play the music, and catch the clothes. For real. It was a very interesting education and paid really well, so I did it for three months and then decided I was going to move on. The boss said, "All right, but just come in one last night. I need you to do Sunday; I'm in a pinch." And this woman turned out to be dating an actor. I didn't know any actors or know anyone who knew any actors. She said she started this class an actor told her to go to. I asked for the name and went to check it out and felt like this was a really good direction. I learned so much from that man. I miss him. Back Stage: Did he teach a specific method or kind of create his own? Pitt: It was kind of based on Uta Hagen, but I think [Roy] really made it his own. He was tough, lovely, compassionate, tough. I give him full credit for pointing me in this direction. I studied with him for three years, I think, then started getting some work. Then I would work with him individually on projects. He loved film, and he loved storytelling. And he loved the individual and looking at what each person could bring to something.Back Stage: From the beginning of your career, you've made really interesting choices in your roles and collaborators. You could have just made big studio blockbustersand there's nothing wrong with those; I like them Pitt: You and me both. I enjoy them. But I actually wouldn't be very good at them. Back Stage: Why not? Pitt: It's just not my interest. I grew up on certain movies, particular movies that said something to me as a kid from Missouri, movies that showed me places I'd yet traveled, or different cultures, or explained something, or said something in a better way than I could ever say. I wanted to find the movies like that. It was less about a career than finding the films I wanted to see. Back Stage: You obviously play leading men, but I think of you as a character actor Pitt: I appreciate that!Back Stage: But because you are a star, did you ever worry you wouldn't get the character roles? Have you ever felt underrated as an actor? Pitt: No, I thought I could always get there or make that turn as long as they let me stay in the game. Listen, I've been pretty fortunate. And if I've been underrated, it's actually been something I've been able to work with; I can surprise people. It sets me up to exceed expectations, so I don't mind.Back Stage: What's your favorite part about being an actor? Pitt: I'm at an age now where I get to start looking back, I guess. And there are some really amazing people I've been able to hang out with and work with. Hollywood gets dubbed this place of extreme vanity and needinessand I guess it's therebut that's not the crowd I've seen or run with. I've found the most interesting, curious, engaging people in this funny thing we call storytelling. I love working with them, and I love the moment right before "Action" and the bell rings, and you don't know exactly what's going to happen; you just start following a vein of thought. And I love the surprises that come from that. And I love stories. I think it's an amazing thing we get to do; we get to contribute to the Zeitgeist of our time. I don't know how much relevance that haswe're not eradicating T.B.but I don't diminish it either. I think there's really something to getting to tell stories that investigate or laugh at what paradoxes and quizzical things we are.Back Stage: You've also gotten into producing, and spent years trying to get "Moneyball" made. How did the story find its way to you, and what attracted you to it? Pitt: Aaron Sorkin described the making of this film the other day. He said, "There are easy films, there are difficult films, then there's 50 feet of crap, then there's 'Heaven's Gate,' then there's us." It was an arduous undertaking. There was a first attempt at a script, and I felt there was something there, but it was geared to more of a major league kind of slant, more comedic. Then I read the book and became rather obsessed with this man's story, who was labeled a failure in some ways. And these ideas of valuehow we value ourselves, what are we worth to each other, and is this system even accurate? And then we started. Economics is not the most edge-of-your-seat subject matter, so it took us a few years to get it right. And we found [director] Bennett Miller. He's not getting enough credit for how much authorship he has of the film. I think he's going to be one of our best. Back Stage: What was the most unusual or difficult part about making the film? Pitt: Something that I think is particularly interesting to actors: Bennett was intent on bringing in real baseball insiders. Therefore they're not actors, a lot of the baseball players and scouts; they're not trained as we are. And he very wisely said, "Don't say the lines; put them in your own words." Then it became incumbent on us to respond to that, which can be very exhausting. You've got to be on your toes at all times. And these guys know baseball certainly more than we do. The interesting thingand it was the same thing in "Tree of Life," working with kids who didn't know the script and weren't actorsthere's a spontaneity that happens; there's a freshness that happens that's up on the screen that I really, really enjoy. I'm questioning myself how to bring it into future projects, because I think it makes that little bit of difference in what we do become more alive. You are really in the moment. I hope to be able to do more of that. Back Stage: You were also a producer on "Tree of Life." Is it true you didn't originally intend on acting in it? Pitt: Yeah. Our actor fell out, and suddenly the film was in jeopardy, and it was looking like it was going to go away. So I said, "Fuck itI'll do it." That movie was a challenge to get made and get the money for. Terry and I grew up in similar kind of country environments, and we certainly have a kinship.Back Stage: Another director you've collaborated with a lot is David Fincher. Pitt: He's a great friend. Sharp as a knife and wickedly funny. I will absolutely be working with him again. Back Stage: What do you make of his reputation for doing multiple takes of a scene? Pitt: It's not [Laughs.] You know, it's not true. There are times when it's a big technical thing and that happens. But it is this moniker he's received. But once it's down, it's there, it's in concrete. Back Stage: And isn't it a good thing to be able to do lots of takes? Pitt: It can be. But on "Tree of Life" we just did two takes on everything. And the second take was completely different from the first. So I can go either way.Back Stage: Although I'm assuming you haven't had to audition in years, what is your take on the audition experience? Pitt: Bennett talks about this a lot; a lot of times, what it takes to get elected to office has nothing to do with what it takes to govern. I find that true about the auditioning process, as well. You're sitting in a room, and you all kind of look alike, and you're all going over your lines, and you can hear the audition going on inside. And you have these few pages of black lines on white paper, and it says you smile here, you do this there. You start hearing the same thing over and over. Now you think of the people on the other side there, the people that are running the casting sessions. By the third, the fourth, the 10th, the 20th, they're hearing the same thing, and then suddenly somebody comes in and does something different. And it lands. Now you can't be different for different's sake, and this doesn't always work, but you have to separate yourself from the normal read. Of course, it has to be truthful. If it's not truthful, don't waste your time. I think that's a key thing that took me a while to figure out. Back Stage: Is there anything else you know now that you wish you'd known at the beginning of your career? Pitt: When you first get opportunities, suddenly you get surrounded by a lot of people who want to make money off you but also are there to help. But they start telling you so much what you need to be and what you need to do to maintain some idea of career maintenance. When you start out, it's very discombobulating, and you are ill-defined at that point as far as direction, what stories are personal to you. So there's two things I'm saying here; at that point, I wish I knew just to follow what was interesting to me. Because we're actors, we want to tell stories, we want to tell personal stories. And not just something you can plug any one of us in and basically get the same thing. Get into something that's really personal that means something to you, where you have something to say and is something really individualized. I wish I was more aware of that then instead of doing a few things I was told would be good for me. And they weren't, because it left me empty, so I didn't do a good job anyways. I think that's what's key to what we do: It's got to be personal.What's So Funny? At a Jan. 15 Q&A sponsored by Back Stage and SAG Foundation, Brad Pitt and Jonah Hill spoke to a packed house about their work on "Moneyball." One topic of discussion was a blooper reel on the DVD that features Pitt laughing hysterically for almost a full three minutes. The scene in question is one near the end of the film, when Hill tries to show him video of a baseball player who hit a home run without realizing it, and Pitt attempts to collect himself several times, to no avail. When asked what he was laughing about, Pitt put the blame on his co-star. "I can't tell you what he said. It's so wrong. So wrong," Pitt said. "This is the guy who did 'Superbad.' Just head in that direction, then go further." Though he wouldn't reveal what he said, Hill responded, "Movie shoots, sometimes you're there for like 12 or 15 hours, and sometimes you get joy out of trying to make the other person laugh when you're not on camera. I think that is one of the gifts of being an actor, is trying to see how someone handles it when they're getting told the dumbest things on the planet, and they have to actually react like they're watching something serious or they're moved by something. I had a really great time." Quipped Pitt, "I know you did."

Palm Springs fest puts 'House' so as

Macdonald 'The House'"The Home,Inch from Slovak director Zuzana Liova, won the brand new Voices/New Visions Award together with a Chihuly glass sculpture along with a Panavision camera rental package worth $60,000 in the Palm Springs fest on Sunday.In a brunch held at Spencer's Restaurant, the fest also passed out the John Schlesinger Award to documentary "The Littlest Place" (Mexico), directed by Tatiana Huezo Sanchez, as the critics' Fipresci kudos visited Bela Tarr's "The Turin Equine," actor Matthias Schoenaerts for his role in "Bullhead" (Belgium), and also to three stars in Iranian director Asghar Farhadi's "A Separation": Leila Hatami, Sareh Bayat and Sarina Farhadi.The Mercedes-Benz Audience Award for narrative visited "Starbuck" (Canada), directed by Ken Scott, as the audience doc kudo visited two U.S. films inside a tie: "Wish Me Away," directed by Bobbie Birleffii and Beverly Kopf, and "The Women within the Band," directed by Judy Chaikin."Terra Firma" (Italia) helmer Emanuele Crialese recognized the Bridging the Edges Award, presented by Cinema Without Edges and H . P ., with a statue and Hewlett packard 8560w Elitebook Mobile Workstation having a built-in Hewlett packard Dream Color display, worth $4,000.The 2012 edition from the Palm Springs fest, which opened up Jan. 5 using the screening of "Fish Fishing within the Yemen," wrapped Sunday with comedy "Almanya, Thanks for visiting Germany."In most, 187 films from 73 nations, including 60 premieres (2 world, 22 United States and 36 U.S.) unspooled throughout the 23rd edition.Fest director Darryl Macdonald did not have amounts available but stated "ticket sales increased, especially in the evening and matinee tests." The 2011 selection composed "an especially satisfying mixture of challenging but highly compelling work," he added. Contact Shalini Dore at shali.dore@variety.com