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‘2016: Obama’s America’ director indicted for campaign finance violations

©GettyImages.com / Dinesh D'SouzaBy L.A. Ross
TheWrap

The director of the controversial 2012 documentary “2016: Obama’s America” has been indicted on charges of campaign finance violations, according to court documents obtained by TheWrap.

Dinesh D’Souza, who wrote and directed the surprise hit conservative film, allegedly contributed a total of $20,000 to the campaign of Wendy Long, the republican Senate candidate who ran unsuccessfully against Kristen Gillibrand in 2012. The indictment alleges D’Souza made contributions both in his own name and hidden in others’ names totaling $10,000, and reimbursements making up the other half.

Also on TheWrap:  ‘2016: Obama’s America’ Creator Offers 8-Minute Update Online

That’s four times the amount an individual is allowed to make to a single campaign in a calendar year. The indictment specifies that the 2012 Election Act limits contributions to $2,500 for the primary and $2,500 for the general election.

D’Souza is also charged with knowingly causing false information to be submitted to the federal government. The indictment alleges that because D’Souza hid his contributions, Long’s campaign unwittingly filed materially false documents to the Federal Elections Commission.

‘2016: Obama’s America’ Director Sets Sights on ‘Conspiracy Nut’ Michael Moore, Hollywood Liberals

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Shia LaBeouf blames bizarre behavior on ‘performance art’

©AP / Shia LaBeouf

By L.A. Ross
TheWrap

Embattled actor Shia LaBeouf has finally come clean on his weeks and weeks of bizarre behavior, claiming that it’s all been one giant piece of performance art.

LaBeouf claims #stopcreating – the hashtag he used to mark his many Twitter apologies – is a project created with the help of “Meta-Modernist” Luke Turner, screenwriter of “Training Day” and “End of Watch” David Ayer, and Kenneth Goldsmith, who in 2013 was appointed the Museum of Modern Art’s first poet laureate.

Perhaps the “Nymphomaniac” star doesn’t remember that Joaquin Phoenix – who was nominated for an Academy Award (but not for this) – beat him to the punch by five whole years, and kept up the act throughout 2009 in service of Casey Affleck’s mockumentary “I’m Still Here.”

Or perhaps that’s LaBeouf’s point.

Also on TheWrap:  Shia LaBeouf Announces Retirement ‘From Public Life’ Via Twitter

The actor revealed his master plan on Twitter Monday night in two long posts, which have been since been deleted. Though his motives are unclear, LaBeouf’s intentions may have been to start a conversation about the immutability of art and imitation.

“The problem with American artwork, is a problem of subject matter. Artwork keeps getting entangled with the problems of America itself,” LaBeouf wrote in the first post, titled “Twitter As Art,” which was screen captured  on the internet before being deleted. The second post is a lengthy manifesto on what performance art (or a#RT) is.

“Performance art has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture,” he continued.

“My twitter ‘@thecampaignbook’ is meta-modernist performance art. A Performative [sic] redress which is all a public apology really is.”

He also said his acts of plagiarism were all intentional and served to both open a dialogue about “plagiarism in the digital age” and allow him to release his “authentic creative imagination.”

“All art is either plagarisum [sic] or revolution to be revolutionary in art today, is to be reactionary. In the midst of being embroiled in acts of intended plagiarism, the world caught me I reacted,” LaBeouf wrote by way of explanation. “The show began. I became completely absorbed, oblivious to things around me.”

At the end of the post, LaBeouf thanked his audience and offered yet another performative redress.

Related stories from TheWrap:

Shia LaBeouf Hit With Cease and Desist Letter for Allegedly Plagiarizing Daniel Clowes — Again

Shia LaBeouf Apologizes to Lena Dunham – With a Lena Dunham Apology

Shia LaBeouf’s Peers Are Turning Against Him

Shia LaBeouf’s Sky-Writing ‘Apology’ to Daniel Clowes Keeps the Attention Rolling, Clears Up Nothing

‘Raging Bull’ Supreme Court ruling could impact Hollywood’s future copyright claims

©AP / 'Raging Bull'

By Ira Teinowitz
TheWrap

Supreme Court justices on Tuesday hearing a copyright appeals claim against Martin Scorsese’s 1980 Oscar-winning film “Raging Bull,” questioned the potential effects of allowing such a claim years after a movie is made or a copyrighted work is issued.

Paula Petrella, whose father Frank Petrella wrote Jake LaMotta’s autobiography and contributed to a first draft of the screenplay in 1963, is seeking at least $1 million in damages from MGM and 20th Century Fox.

Stephanos Bibas, an attorney for Paula Petrella, told the court that any Congressional action altered the bar against filing copyright claims years later. The attorney also argued that courts have the leeway to examine specific factual situations.

Also on TheWrap:  Supreme Court to Hear ‘Raging Bull’ Copyright Case; Could Undercut Favorite Studio Defense

Paula Petrella contends that as heir to her father, she won the right to pursue the claim after her father died in 1981 before his 28-year copyright on the script ran out. Her lawsuit, filed in 2009, seeks damages for for the three years before and after her suit was filed and an injunction to halt further distribution of the film, until a financial agreement can be worked out.

The 9th Circuit Court of Appeals dismissed her case in 2012 as being filed too late.

Now the Supreme Court has to consider the timing of Petrella’s filing and whether Congress, in adding a provision to copyright law setting a three-year statute of limitations on copyright cases, changed the “laches” that traditionally have limited late claims. The provision opens the door to cases filed years later as long as the cases target continuing earnings and not earnings from years before.

Bibas argued the law did make a change, replacing the judicial “laches” policy with a new Congressionally mandated standard.

“Laches is a gap filler, but Congress filled with gap with a bright line statute of limitations,” Bibas told the judges.

He also argued that a right to injunction would prevent the Petrella suit from ongoing violations.

Several judges questioned that position.

Justice Sonia Sotomayor noted the federal government’s position that a compulsory license fee might be warranted for Petrella, but not the right to seek an injunction.

Meanwhile, Justice Antonin Scalia said a ruling in favor of Petrella would rewrite the law in ways that could change the economics of copyrights.

“You’re talking about inducing, or causing at least, people who — who proceeded in good faith on the assumption that 20 years have gone by. Nobody — nobody has questioned our doing it. They invested substantial amounts of money, and then when that money starts to pay off, you file suit and – and you get three years’ worth of — of their profits,” he said.

Mark A. Perry, a lawyer for the studios, told the justices the Congressional action doesn’t preclude the “laches” standard.

He also argued that Petrella was unfairly trying to profit from the studios investment in the 25th year anniversary of the movie by choosing to target profits after advertising spending wouldn’t be deducted from profits.

Pamela Chelin contributed to this story.

Related stories from TheWrap:

Directors Guild Nominations: Steve McQueen, Alfonso Cuaron, David O. Russell, Martin Scorsese and Paul Greengrass

‘Wolf of Wall Street’ Reviews: Did DiCaprio and Scorsese Create Another ‘Goodfellas’?

Supreme Court to Hear ‘Raging Bull’ Copyright Case; Could Undercut Favorite Studio Defense

Quentin Tarantino scraps Western plans after script leak

I don’t blame him.

He needs to find loyal people, build a little family, and keep it in the family. Anyone else is in it for themselves, and will sell you out first chance they get.

Glenn Close plans return to theater in fall

©AP / Glenn Close

PARK CITY, Utah (AP) — Glenn Close is returning to theater after more than 15 years — and it won’t be in a musical.

“I am planning a play in the fall,” Close said in an interview Monday at the Sundance Film Festival, where she’s promoting the film “Low Down.”

The 66-year-old actress wouldn’t say what play she’s joining in advance of the official announcement.

“I’m not sure what the producer’s plan is. I think he might want more of a cast before,” Close said.

However, she hinted: “The world that it is in is a world I know very well. It’s just a very complex play. It’s very challenging. It’s like somebody said, ‘A mountain of a play.’ I’m not coming back in a musical.”

Close, a three-time Tony winner, started in theater before moving to film and TV, including the series “Damages.” She last appeared on Broadway in “Sunset Boulevard.”

James Jacks, ‘Mummy’ Producer, dead at 66

©TheWrap / James JacksBy Brent Lang
TheWrap

James Jacks, the veteran producer who helped make “The Mummy” franchise a worldwide box office smash, died Monday, his one-time producing partner Sean Daniel said on Facebook. He was 66.

Jacks’ cause of death was a heart attack, according to media reports.

Daniel and Universal Studios did not immediately respond to TheWrap’s requests for comment.

“Here’s to Jim Jacks,” Daniel wrote on Facebook. “Nobody loved movies more. Passionate, loyal, generous, accomplished, noble, caring, heavily armed, creative, dare I say obsessive on occasion. A good man, a good friend, a wonderful partner, a loving son to his family. You will be missed.”

Also from TheWrap:  ‘Wizard of Oz’s’ Last Female Munchkin Dead at 95

Over nearly three decades in film, Jacks helped guide a range of box office and critical successes to the big screen, teaming with such significant artists as Joel and Ethan Coen, Richard Linklater and Sam Raimi.

His credits include “Raising Arizona,” “A Simple Plan,” “Tombstone,” “Intolerable Cruelty” and “Dazed and Confused.”

Yet, the three “Mummy” films and its spin-off “The Scorpion King” that he produced under the Alphaville Films banner form the spine of his legacy and made him one of the most commercially astute producers of the late 1990s and early aughts. Together the breathed new life into one of Universal Pictures’ oldest horror brands and made over $1.4 billion globally.

The post James Jacks, ‘Mummy’ Producer, Dead at 66 appeared first on TheWrap.

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Jonah Hill: I did ‘Wolf Of Wall Street’ for $60K

Jonah HillEntertainment Tonight.

Jonah Hill took quite the pay cut for his decadent role in “The Wolf Of Wall Street.”

The 30-year-old actor admitted on Tuesday’s “The Stern Show” that he wanted to be in Martin Scorsese’s film so badly that he did the film for $60,000. Jonah plays Jordan Belfort’s (Leonardo DiCaprio) sidekick, Donnie Azoff.

His devotion to the role paid off. Jonah was nominated for an Oscar this year for his part in the movie, and the film has grossed over $91 million domestically.

Related stories on ETonline.com:
Angelina Is Green With Envy In ‘Maleficent’ Teaser

The Real ‘Wolf of Wall Street’ Breaks His Silence

Producers Guild picks ’12 Years a Slave’ and ‘Gravity’ in a rare tie

If the 12 slave don’t win we will all be racist so we should bow down one more time and honor the slave movie… done and over please can we not move on?

Katie Couric makes documentary debut at Sundance

Katie Couric

PARK CITY, Utah (AP) — Along with her soon-to-end daytime talk show, fall engagement and recent move from TV to the web as Yahoo’s global anchor, Katie Couric also made a documentary feature shown at Sundance.

“Fed Up” premiered Sunday at the Sundance Film Festival.

Couric linked up with “An Inconvenient Truth” producer Laurie David to make a film that explores the epidemic of childhood obesity and its not-so-obvious causes. Couric produced and narrates the film.

The 57-year-old TV anchor said she pitched David her idea over email, “and it took her about 10 seconds to say, ‘I’m in.'”

“Three seconds,” David said.

Couric said documentaries “are replacing journalism in some cases” because budget cuts and a taste for quick news bites means “nobody invests the time to really investigate some of the biggest social issues.” A collection of headlines doesn’t illuminate can’t illuminate an issue the way a documentary can.

“It’s great to have the time and … to know that you don’t have to turn it around in a day, a week or even a month,” she said. “You have 93 minutes to really flesh out an issue that deserves that and then some. That is so liberating.”

“Fed Up,” directed by Stephanie Soechtig, uses historical footage and news events to show the causes and costs of obesity in the United States.

“This generation of children is the first to live a shorter life span than their parents, and it has ramifications in every aspect of our lives,” she said. “Talk about skyrocketing health care costs: the obesity epidemic is behind these health care costs. And national security: these people are too heavy to join the military…. It affects so many aspects of our country’s health that we really need to start paying attention.”

Couric said she hopes the film informs people and incites them to action so the food industry might become as accountable for its harmful products as the tobacco industry has.

“We really hope this is going to be a wakeup call,” she said.

She also plans to dig into social issues and talk with newsmakers and cultural leaders in her new gig at Yahoo, and she’s not afraid to leave television behind.

“I wanted to be part of the transition that we see happening all around us in media,” she said. “People … may want the immediacy of having things on their mobile phone or on their computers, but I also think they want quality content as well, so hopefully we’ll be able to provide some of that.”

De Niro casts spotlight on works of his artist father at Sundance

©AP / Robert De Niro

(Reuters) — Robert De Niro may best be known as an Oscar-winning actor, but in a new documentary he takes on the role of a devoted son as he spotlights his own artist father, Robert Sr., for his influential but not well-known works in the New York City abstract expressionist art movement.

De Niro, 70, who won Oscars for his lead role in “Raging Bull” and his supporting turn in “The Godfather: Part II”, attended the Sundance Film Festival in Park City, Utah on Sunday to premiere “Remembering the Artist Robert De Niro, Sr.,” a HBO documentary about his father, who emerged alongside contemporaries including Jackson Pollock and Willem de Kooning.

Photos: Stars at Sundance

Robert Sr. grew up in a conservative Italian-American family in New York and married fellow artist Virginia Admiral, with whom he had one child, De Niro. The marriage did not last very long and the couple made an amicable split.

Abstract expressionism came about in post-World War II and was the first notable American artistic movement to define a stylistic era. While Robert Sr.’s works emerged during that time period, his style was not described as abstract expressionist but instead as figurist, often depicting still life “in simple set-ups with no pretension,” as described in the half-hour documentary.

Robert Sr. strived to achieve the success of some of his contemporaries throughout his career and worked hard to hone his own craft and style.

He became increasingly disconnected from the abstract expressionist movement, inspired more by early 20th century French artists such as George Roux, Pierre Bonnard and Henri Matisse. Robert Sr.’s works included vibrant and intense color palettes and fluid silhouettes.

“He was very clear about what he thought was art and what he liked, and yet at the same time he was generous, people can appreciate things, it doesn’t matter if the aesthetic can be different from yours,” De Niro told Reuters at the film’s premiere.

“He didn’t feel that certain things art-wise were art. It was another thing that wasn’t enough for him, and his own style as you see was always the same. It varied some but not a lot,” he added.

De Niro delved into his father’s path as an artist though Robert Sr.’s journals, which revealed the artist’s struggles with his relationship with God and his attempts at coming to terms with being homosexual.

De Niro said his father, who died in 1993 from prostate cancer, may never have resolved those issues.

De Niro founded the TriBeCa Film Festival in New York, a showcase for independent films, but he wanted to bring the documentary to Sundance, the top U.S. independent film festival, to make sure the spotlight was fully on the works and memory of his father.

“We were really thrilled that it was chosen for Sundance because it separates from having it at Tribeca and we see Bob’s father’s works on its own in a different setting than you would in New York,” producer Jane Rosenthal said.

The documentary explores Robert Sr.’s career as well as his role as a loving father, with whom De Niro said he had a very close relationship with. But as De Niro’s acting career took off, he felt his father was somewhat resentful that his own work had never been recognized by a bigger audience.

For De Niro, the documentary, scheduled to air on HBO this summer, serves as an homage to his father, whose paintings are still shown in galleries around the world, and also as a memory for his own children.

“I realized how important it is for children to appreciate certain things (their parents) want to share with them,” an emotional De Niro says in the film.

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