Thunderbird is a go for Giustra

VANCOUVER -- Lionsgate founder Frank Giustra is returning to the entertainment biz, making a significant investment in Vancouver-based Thunderbird Films to help expand and diversify its TV operations. Although the amount of coin wasn't revealed on Wednesday, it will make the Canadian businessman and philanthropist one of Thunderbird's major shareholders, per the production company's co-founders Tim Gamble and Michael Shepard, who serve as CEO and president, respectively. "As we expand our business and step up production, Frank's support ensures that we can maintain our independence and parlay incredible opportunities," Gamble said. Taking a non-traditional approach to rights management, Thunderbird will give producers distribution advances. "By providing producers with advances, we're able to guide them into finance and production opportunities and continue to be flexible with distribution agreements, all of which opens the door to greater possibilities," said Shepard. Giustra's investment will go a long way towards acquiring and producing future programming. "I am pleased to make this investment in Thunderbird and admire the success Tim, Michael and their team have achieved with the company during the past eight years," said Giustra. "Thunderbird will now have access to sufficient capital to focus on becoming a prominent entity in the production and distribution of television programming with a special emphasis on rights management. I look forward to moving the company to its next level of success, leveraging its independence to capitalize on global opportunities." Thunderbird will also soon unveil a new name that will better reflect its various operations. It is currently enjoying success with its TV series, "Mr. Young," which has been running on Disney XD and was recently moved to a primetime slot. The company also owns a 50% stake in the "Blade Runner" film franchise. A former investment banker, Giustra set up Lionsgate in 1997 to capitalize on the growing Vancouver film industry. He sold most of his stake six years later. He is presently a board member. Contact the Variety newsroom at news@variety.com

Lab Rats Invade Disney XD

They got stuck on a broken-down bus, but married clowns Dave and Cherie Gregg were ultimately undone on The Amazing Race by... math. Tasked with calculating the average weight of a head of cattle in a pen using long division, Dave got so stuck that the cattle were eventually cleared out. "Not in a million years [did I think we would be eliminated because of math]! Not in $1 million even!" he tells TVGuide.com. Why couldn't he figure it out? And what happened to their bus? Find out below. Read More > Other Links From TVGuide.com Mark JacksonAmazing Race 20Cherie GreggDave GreggJoey LasallaKerri PaulStacy BowersWilliam Minton

Top Moments: Glee's Crash Course and Khloe and Lamar Break a Sex Swing

Brooke Mueller Charlie Sheen's ex-wife, Brooke Mueller, has been charged with felony cocaine possession with intent to distribute, TMZ reports. Mueller, 34, has been charged with one count of having more than four grams of cocaine on her and one count of having less than four grams. The charges stem from Mueller's Dec. 2 arrest in Aspen, Colo. She is also charged with assaulting a woman earlier that same evening. Charlie Sheen's ex Brooke Mueller receiving at-home treatment for addiction If found guilty of possessing more than four grams, she would face up to six years in prison. If she's found guilty of having less than four grams, she could face a maximum of 18 months in prison. Following her Dec. 2 arrest, Mueller was receiving at-home treatment for her addiction, her rep told Us Weekly in December. Mueller and Sheen were married in May 2008. She filed for divorce in November 2010, 11 months after Sheen was arrested for assaulting her in their Aspen, Colo. home. (He later plead guilty to misdemeanor assault). They have two-year-old twin sons together, Bob and Max.

Pierre Juneau dies at 89

Pierre Juneau, who introduced in key rules supporting homegrown TV and music production in Canada, died on Tuesday. He was 89.The Montreal-born Juneau began his career within the National Film Board of Canada, where he carried out a considerable role in the development of French-language production within the freely funded film studio. Whilst in the NFB from 1949-66, he held numerous management posts inside the distribution and production industries, including developing co-productions with France and Italia.Each time a separate French-language production unit was setup within the NFB in 1964, he was named the initial mind in the studio.In 1960, he co-founded Quebec's first film festival, the Montreal Worldwide Film Festival.In 1966, Juneau left the NFB and was named vice chairman in the Bureau of Broadcast Governors. couple of years later that body increased being the Canadian Radio-Television and Telecommunications Commission, the country's broadcast regulator. He increased being the initial-ever chairman in the CRTC in 1968 plus it was throughout his tenure as CRTC topper the regulator created the initial-ever Canadian-content rules for television and radio. These rules are believed by a lot of being significant factors inside the subsequent progression of an effective TV and music industries inside the Great White-colored North. The recommendations stipulated the television systems required to air 60% Canadian fare, and r / c required to air 30% Canadian music.In recognition of his identifying role inside the music world in Canada, the Canadian music honours were named the Juno Honours within the recognition. More youthful crowd received a Juno Award as Canadian record companies guy of year in 1971.A vintage friend of Pm Pierre Elliott Trudeau, Juneau ankled the CRTC in 1975 to simply accept position as Minister of Communications in Trudeau's government. But he required to resign within the cabinet after he lost a by-election.Juneau increased being leader of pubcaster CBC in 1982 and, while mind in the network, he aided make the country's first all-news network, Newsworld. But while heading CBC, he required to grapple with major budget cuts introduced in by Pm John Mulroney's Progressive Conservative government."He will be a great defender of Canadian content, a great defender in the public service together with an excellent defender in the political independence of CBC vis-a-vis the us government,In . mentioned Sylvain Lafrance, the prior senior V . p . of French-language services at CBC, inside an interview while using Radio-Canada website.Throughout his years as leader in the CBC, he pressed to produce the Canadian content round the network around 95%. He outdated from CBC much like Newsworld would air.Following his time at CBC, he founded the earth Radio and tv Council, a UNESCO-supported non-government organization. Contact the number newsroom at news@variety.com

Actor Russell Arms dies at 92

Singer-actor Russell Arms, who made an appearance regularly like a singer on NBC musical program "Your Hit Parade" within the nineteen fifties, died February. 13 in Hamilton, Ill. He was 92. Arms and also the other regulars around the popular Saturday-evening show, which in fact had begun on radio, carried out the week's seven most widely used tunes. After their studies at the Pasadena Playhouse, he started his showbiz career right before World war 2 when Warner Bros. signed him to some contract. He earned his feature debut in "The Guy Who Found Dinner," with Bette Davis and Monty Woolley, and made an appearance in a number of war films for that studio prior to being drafted themself. In their military service he earned training films for that Military Signal Corps and also the Military Air Forces. After coming back to Warners and showing up in many Westerns, he moved forward to radio roles. Arms were built with a relatively substantial supporting role within the 1953 Doris Day film "Through the Light from the Silvery Moon." He left "Your Hit Parade" in 1958 and subsequently did guest focus on TV for many years, showing up on "Have Gun -- Will Travel," "Rawhide," "Perry Mason," "Dragnet," "Marcus Welby, M.D.," "Mod Squad" and "The Paper Chase." Arms made his last screen appearance inside a 1985 episode of "Hardcastle and McCormick." Contact Variety Staff at news@variety.com

Pilot Season: Greg Berlanti's CBS Cop Drama Pilot Collars Kevin Alejandro

Kevin Alejandro Southland and True Blood alum Kevin Alejandro has joined CBS' untitled pilot from Greg Berlanti, Deadline reports.Pilot Season: Pushing Daisies' Chi McBride to co-star in Greg Berlanti pilotFormerly known as Golden Boy, the one-hour drama chronicles one cop's meteoric rise from officer to detective to Police Commissioner. Alejandro will play the top detective who is disturbed by the new guy's arrival and plots to derail his career. He joins Chi McBride, who will play the new officer's partner.Nicholas Wootton will write and executive-produce the project alongside Berlanti, who also has set up drama pilots at Fox (Guilty) and The CW (Arrow).

Fox Sets Premiere Date for the Return of Bones

Bones Bones finally has a return date! The show will return Thursday, April 5 (9/8c) with Bones (Emily Deschanel) and Booth (David Boreanaz) at odds over plans for the upcoming birth of their daughter. Gordon Ramsay's Hotel Hell premieres on Friday, April 6 at 8/7c. In Hell, Ramsay will traverse the country to different hotels in hopes of trying to fix them up. Fox creates Tuesday night comedy block, Glee goes on long hiatus As previously announced, Glee will take a nearly two month hiatus following the Feb. 21 episode, which frees Tuesday nights up for a two-hour comedy block. Beginning March 6, Raising Hope will kick off Tuesday nights at 8/7c, followed by the return of I Hate My Teenage Daughter at 8:30/7:30c. New Girl will stay in its regular timeslot at 9/8c and Breaking In will follow at 9:30/8:30c. In other scheduling news, Touch will make its world premiere on Monday, March 19 (9/8c), while the series finale of House is slated to air Monday, May 21 (8/7c).

Performer Unions Use Electronic Innovations To Interact With Members

Performer Unions Use Electronic Innovations To Interact With Members By Frank Nestor February 9, 2012 Over the past few years, the American Federation of Television and Radio Artists, the Screen Actors Guild, and Actors' Equity Association have expanded the ways in which they communicate with their members. All use the social media websites Facebook, Twitter, and YouTube, as well as innovative technology, but in unique ways.Mobilizing Through Media "Everybody has a Facebook page, but not everybody knows how to utilize it," says Leslie Simmons, the assistant director of national communications for AFTRA. The union, particularly in the last year, used social media to help its members stay informed about, or participate in, various campaigns. For instance, during the Wisconsin and Ohio labor protests in early 2011, AFTRA posted information on its Facebook page about solidarity rallies all around the country. "Even if our members couldn't go to those two states, they could still participate and show their solidarity," she explains. The union used Twitter, Facebook, and YouTube to advertise several other initiatives last year, especially one for performers who act and dance in music videos. Members of the group called It's About Time have been attempting to secure a contract with major record labels, which would include fair and safe working conditions and contributions for their retirement. "They're young, energized performers and are so plugged into the social media universe; it's like a second language for them," says Simmons. AFTRA has worked with the group to give its campaign more exposure across the Web. According to Simmons, the group has been successful in garnering support from the dance and music video community: "They've had a lot of meetings to update people. A lot of times those meeting notices go out through social networking, and then they have 160 people attending a meeting." AFTRA has also been using gotomeeting.com to conduct webinars with its leaders and committee members without requiring everybody to come into the office. "We understand that our members have schedules that are very different than a nine-to-five, so if they are out on a set or on an audition, they can plug in through their smart phone and participate while waiting or on a break." Simmons adds, "We still have a lot of face-to-face interaction. That's still very important, because there is a little of a separation if you're just using social media. You have to have that one-on-one contact with people, as well, and try to find ways to integrate the two together." An Electronic Expansion "Utilizing technology increases the reach of our communications," says Pamela Greenwalt, SAG's communications executive director. "Electronic communications not only helps the union to be more efficient in a more environmentally friendly manner, it also provides more immediate communication and an easier avenue for feedback." The union regularly sends electronic-only invitations for national events, and members are responding actively, often filling them to capacity. Over the last few years, SAG has web-streamed many events, and according to Greenwalt, "thousands of members tune in at one timemany more than we would be able to host in a physical venue." The union recently partnered with the USO to raise funds for calling cards and digital communication service for American troops deployed overseas. "Less than 24 hours after we sent an e-blast to members, they responded with donations of more than $5,000," says Greenwalt. The campaign raised more than $15,000 for the USO over the holiday season, thanks to emails, Facebook, and Twitter."The entertainment industry is changing, and our aim isn't just to change with it but to help lead the way," says Greenwalt. One way SAG plans to accomplish this is through its online SAG Production Center, which allows producers to download forms and rate sheets as well as to sign agreements online. The center saves time and avoids large amounts of paperwork. Since its debut in June 2011, the production center has received more than 3,300 signatory applications from producers through its online tools. "Those who have used it have given the streamlined system rave reviews. Better still, they have generated a lot of positive word-of-mouth, sharing their experiences with other producers," says Greenwalt.SAG believes its online signatory application will help revolutionize the way unions work in the industry and plans to keep developing its capabilities. "We will continue to explore how we can expand its functionality, as well as engage our members using a variety of media in ways that don't just use technology for technology's sake but offer an effective means for empowering members," Greenwalt says.New Expectations "The changing face of technology has driven everything to be based in real time," says Doug Beebe, the national IT director at Actors' Equity Association. "There is a different expectation now. Someone used to say, 'I'll get back to you Monday morning,' but now it's 'I just sent you a message. Can you help me right now?' " Equity has been conscious of this shift to faster service and reached out to its members and staff to figure out areas to technologically improve. As a result, Actors' Equity will launch a revamp of its members-only portal some time this quarter. The union has been rebuilding its entire digital internal system and infrastructure to support the portal, which will contain and manage membership information. One of Equity's goals is to help its members communicate with the union in real time and allow people to update basic profile information rapidly and efficiently. In addition, Equity will open a new website for theatrical employers and producers. According to Beebe, the website will capture all production-related information that normally is transmitted through paper and email: "There's a lot of paperwork right now, and we're trying to streamline that into a portal that will tell us about the productions that these employers are working on quickly." Though many members of all three unions are adept with new technology, there may be some resistance from older industry professionals. Beebe acknowledges it may not be a smooth transition for everybody: "There are still letters being written in lieu of email, but I think that's sort of an act of attrition at this point. The challenge is that we do have to do a balancing act between the people who are embracing technology and those that either can't or won't." Beebe was not concerned over the possibility that some members may wish to use technology but may have difficulty with the new portal. "Our intent was that if we design it correctly, then it would not require any sort of tutorial," he says. Beebe believes that people tend to avoid help screens and often try to figure out how to use products on their own. Even though the portal will not be launched for several months, Beebe is already thinking about the future. He says, "I would call this sort of like a phase one. The portal is never a finished product. It's a living, breathing, moving, changing thing." Performer Unions Use Electronic Innovations To Interact With Members By Frank Nestor February 9, 2012 Over the past few years, the American Federation of Television and Radio Artists, the Screen Actors Guild, and Actors' Equity Association have expanded the ways in which they communicate with their members. All use the social media websites Facebook, Twitter, and YouTube, as well as innovative technology, but in unique ways.Mobilizing Through Media "Everybody has a Facebook page, but not everybody knows how to utilize it," says Leslie Simmons, the assistant director of national communications for AFTRA. The union, particularly in the last year, used social media to help its members stay informed about, or participate in, various campaigns. For instance, during the Wisconsin and Ohio labor protests in early 2011, AFTRA posted information on its Facebook page about solidarity rallies all around the country. "Even if our members couldn't go to those two states, they could still participate and show their solidarity," she explains. The union used Twitter, Facebook, and YouTube to advertise several other initiatives last year, especially one for performers who act and dance in music videos. Members of the group called It's About Time have been attempting to secure a contract with major record labels, which would include fair and safe working conditions and contributions for their retirement. "They're young, energized performers and are so plugged into the social media universe; it's like a second language for them," says Simmons. AFTRA has worked with the group to give its campaign more exposure across the Web. According to Simmons, the group has been successful in garnering support from the dance and music video community: "They've had a lot of meetings to update people. A lot of times those meeting notices go out through social networking, and then they have 160 people attending a meeting." AFTRA has also been using gotomeeting.com to conduct webinars with its leaders and committee members without requiring everybody to come into the office. "We understand that our members have schedules that are very different than a nine-to-five, so if they are out on a set or on an audition, they can plug in through their smart phone and participate while waiting or on a break." Simmons adds, "We still have a lot of face-to-face interaction. That's still very important, because there is a little of a separation if you're just using social media. You have to have that one-on-one contact with people, as well, and try to find ways to integrate the two together." An Electronic Expansion "Utilizing technology increases the reach of our communications," says Pamela Greenwalt, SAG's communications executive director. "Electronic communications not only helps the union to be more efficient in a more environmentally friendly manner, it also provides more immediate communication and an easier avenue for feedback." The union regularly sends electronic-only invitations for national events, and members are responding actively, often filling them to capacity. Over the last few years, SAG has web-streamed many events, and according to Greenwalt, "thousands of members tune in at one timemany more than we would be able to host in a physical venue." The union recently partnered with the USO to raise funds for calling cards and digital communication service for American troops deployed overseas. "Less than 24 hours after we sent an e-blast to members, they responded with donations of more than $5,000," says Greenwalt. The campaign raised more than $15,000 for the USO over the holiday season, thanks to emails, Facebook, and Twitter."The entertainment industry is changing, and our aim isn't just to change with it but to help lead the way," says Greenwalt. One way SAG plans to accomplish this is through its online SAG Production Center, which allows producers to download forms and rate sheets as well as to sign agreements online. The center saves time and avoids large amounts of paperwork. Since its debut in June 2011, the production center has received more than 3,300 signatory applications from producers through its online tools. "Those who have used it have given the streamlined system rave reviews. Better still, they have generated a lot of positive word-of-mouth, sharing their experiences with other producers," says Greenwalt.SAG believes its online signatory application will help revolutionize the way unions work in the industry and plans to keep developing its capabilities. "We will continue to explore how we can expand its functionality, as well as engage our members using a variety of media in ways that don't just use technology for technology's sake but offer an effective means for empowering members," Greenwalt says.New Expectations "The changing face of technology has driven everything to be based in real time," says Doug Beebe, the national IT director at Actors' Equity Association. "There is a different expectation now. Someone used to say, 'I'll get back to you Monday morning,' but now it's 'I just sent you a message. Can you help me right now?' " Equity has been conscious of this shift to faster service and reached out to its members and staff to figure out areas to technologically improve. As a result, Actors' Equity will launch a revamp of its members-only portal some time this quarter. The union has been rebuilding its entire digital internal system and infrastructure to support the portal, which will contain and manage membership information. One of Equity's goals is to help its members communicate with the union in real time and allow people to update basic profile information rapidly and efficiently. In addition, Equity will open a new website for theatrical employers and producers. According to Beebe, the website will capture all production-related information that normally is transmitted through paper and email: "There's a lot of paperwork right now, and we're trying to streamline that into a portal that will tell us about the productions that these employers are working on quickly." Though many members of all three unions are adept with new technology, there may be some resistance from older industry professionals. Beebe acknowledges it may not be a smooth transition for everybody: "There are still letters being written in lieu of email, but I think that's sort of an act of attrition at this point. The challenge is that we do have to do a balancing act between the people who are embracing technology and those that either can't or won't." Beebe was not concerned over the possibility that some members may wish to use technology but may have difficulty with the new portal. "Our intent was that if we design it correctly, then it would not require any sort of tutorial," he says. Beebe believes that people tend to avoid help screens and often try to figure out how to use products on their own. Even though the portal will not be launched for several months, Beebe is already thinking about the future. He says, "I would call this sort of like a phase one. The portal is never a finished product. It's a living, breathing, moving, changing thing."

John Goodman Opts for Silence in 'The Artist'

It seems like every time you turn on the television, see a film, listen to a commercial, or even play a video game you see or hear John Goodman. This past year alone he was on the TV shows "Treme," "Damages," and "Community." He was a voice on video game "Rage" and the animated film "Happy Feet Two," and he was in two Academy Award nominated films, "Extremely Loud and Incredibly Close" and "The Artist."Goodman, who admits that he never purposefully takes a break from acting, has made a name for himself as a modern day everyman, stealing scenes since the mid-1980s. He is best known for his role as Dan Conner on the TV series "Roseanne" and for his work with the Coen brothers in their films "Raising Arizona," "Barton Fink," "The Big Lebowski," and "O Brother Where Art Thou?" The New Orleans resident recently spoke to Back Stage about working on "The Artist," in which he played one of his favorite roles, and how he uses a mix of theory and rationality to create his memorable characters. Back Stage: How did you come to be cast in "The Artist"? John Goodman: Since there was no dialogue, [director] Michel Hazanavicius didn't have a conventional script, he had a scenario, printed in a black binder with all these pictures from old Hollywood. He really put a lot of love into this thing, and to me that indicated he had a degree of passion about what he wanted to do. Then I talked to him about shooting, how he was going to shoot it and where, and he sold me. And it's one of those rare things where everything he talked about showed up on the screen. Back Stage: Was acting in "The Artist" different from other films? Goodman: You know, it was and it wasn't. We had the scenario and we improvised what we needed to do. It was a little difficult [in my scenes with] Jean Dujardin because he didn't speak any English at the time. He does now; he rattles it off. And I'm never going to speak French. I flunked it in high school. But we still knew what we were talking about. We were very focused on each other and it's cool because it worked out really well on the screen. Outside of that, it was just telling the story. Back Stage: Are you surprised by how much the film has been embraced by audiences? Goodman: Not that it's been embraced by audiences, but that it's such a big deal now and people are talking about it. I thought it was special when I read it and it sure turned out that way. It's very gratifying when that happens. Back Stage: How do you normally choose your projects? Goodman: It's like if you listened to a good song there's a hook. Something that grabs you that's a little different. It says a little something that you haven't heard recently. And good dialogue. I'm a sucker for good writing.Back Stage: You've had such a varied career. What's been your favorite role? Goodman: One was Falstaff. I got to do that at The Old Globe Theater in San Diego way too long ago now. But another is [Walter in] "The Big Lebowski." That's the one that gets the most radical response from people. We had such a good time doing it and it's still fun to watch every once in a while. Back Stage: Would you say you have a specific acting method? Goodman: I'm lucky I didn't get locked into an ideology early on. I just use a mixture of everything and then add practical common sense into whatever style the piece is. A good example is "The Artist." We all tell a story, we all want to tell the truth, not to be confused with real, but the truth, the truth of the piece. That's the best way to do it. You know it in your heart and your socks when you're doing right. Back Stage: What's your method for rehearsal? Goodman: Listening. Keeping your ears open. Rehearsal is there for you to make a fool of yourself. Try anything. Throw it up against the wall. Have that desperation to make it right. I usually know I'm going to make a total ass of myself, but I jump off. Jump right into it. And then it's a refining process, but thank God for rehearsals.