Wedding Crashers Copycat Crime Lands University of Wisconsin Student in Jail

Let this be a lesson to all Wedding Crashers fans: Just because Owen Wilson and Vince Vaughn pull some hilarious pranks without legal consequence in their 2005 comedy does not mean that said hilarious pranks can be pulled without consequence in real life. Just ask 22-year-old University of Wisconsin student Luciana Reichel who has been jailed for 90 days and put on 30 months probation after playing a copycat Wedding Crashers practical joke on her roommate. Reichel was charged with a felony count of placing foreign objects in edibles after squirting Visine into the water bottle used by her 20-year-old roommate Briannia Charapata “on numerous occasions.” Consequently, according to the Daily Mail, Charapata started feeling “nauseated, suffered from diarrhoea, loss of appetite and was tired for no reason.” After two weeks of feeling unwell in October, Charapata visited a doctor who was unable to diagnose her. It wasn’t until November, when Charapata overheard another student telling people about Reichel’s eye drop stunt, that she realized what had happened and went to the police. Upon her arrest, Reichel confessed to the crime and explained that she was inspired by the Wedding Crashers scene in which Owen Wilson adds Visine to Bradley Cooper’s drink so that he can spend more alone time with Cooper’s onscreen love interest, Rachel McAdams. To determine Reichel’s sentence, Winnebago County Judge Barbara Key also took into consideration the student’s “lengthy history of lying and manipulation, in addition to her alcohol issues.” Police have stated that it is unlikely that Reichel, who was hoping to pursue a career in nursing, would be hired in the health care field. (Rule #98: Don’t intentionally cause bodily harm to your roommate when pursuing a nursing career.) David Dobkin’s Wedding Crashers, which was written by Steve Faber and Bob Fisher, has not inspired any other college crimes. · Student jailed for 90 days for putting eyedrops into her room-mate’s water after seeing stunt on Wedding Crashers [Daily Mail]

Tom Cullen and Chris New Break Through in Award-Winning Weekend

UK writer/director Andrew Haigh’s Weekend is pretty much perfect: a sweet, small, intimate story of an unassuming lifeguard named Russell (Tom Cullen), who meets and falls in love with a cheeky chap named Glen (Chris New) over one poignant weekend. Glen insists on tape-recording many of his conversations with Russell for a project, including the first exchange they have after making love. This confidential rapport evolves into a highly emotional, sexually frank connection, and when Glen announces that he’s moving to the U.S. for schooling, Russell must resolve his own feelings about himself and Glen’s departure. Weekend triumphed at this year’s SXSW Festival, garnering the Audience Award, and now the incisive indie is gaining a stateside release this Friday. The film’s two stars are nearly brand-new to films, which makes their stunning intimacy onscreen all the more impressive. We phoned Cullen and New to discuss why they chose to live together during filming, the process of shooting a movie sequentially, and why a love story featuring “two penises” is different than a typical romantic yarn. After so much buildup and success at festivals like SXSW and Outfest, Weekend gets its official American release this week. Is that exciting or terrifying? Tom Cullen: Terrifying! It’s a new frontier. It’s immensely exciting, and it’s why we make the movies in the first place, for people to see it. Chris New: Exciting, I think. [Laughs.] I don’t know! I’ve never had a film released before, so it’s all a new adventure for me. We’re kind of surprised by the reaction we’ve had, especially in America. We made the film for a very, very small amount of money in a little flat in Nottingham in England. It’s kind of really weird to think that people around the world are watching it. It’s not very real. But it’s real. You guys lived together during filming. Can you talk about the benefits of cohabitation? Were there any downsides? CN: What did we get. We kind of thought at the beginning that we wouldn’t spend too much time together, because we wanted to keep our characters separate. But then we realized we had too much work to do, so we would just live in the same flat. Every night, Tom, Andrew and I would go through the script and talk about the scenes and edit the scenes. We shot in sequence, so every day we’d move onto the next scene with what we’d filmed that day. I suppose we got better at working together as we went along. Andrew kind of learned a shorthand between the two of us, and within the intimacy [Tom and I] had, we could keep the script quite spare. During the time we were filming, we were lucky in that we were able to sit down together every day and concentrate on what we were doing. That’s very hard to do, especially on a larger film. There are so many people and departments, restrictions, and so much money at stake that it’s very hard to feel like you don’t have too much pressure on you. It didn’t feel like there was a rush. TC: Chris and I get along so well. What living together meant is we were able to go through scenes together, work together, and really get to know each other. If anything, it aided the film because we’re so comfortable with each other. There’s a real trust and friendship there that transmits. It was remarkably easy. I wish I could tell you that we chucked plates at each other, but it was glorious. We had such a lovely time. There were no problems whatsoever — except that I woke him up a few times coming in drunk. The process of making this movie was very unusual. Not only did you live together, but you shot the movie in sequence. As newcomers to film, how does Weekend feel as a formative experience? Do you think it will stand out as a strange production among the next films you’ll make? CN: Yes. Well, I had a similar experience in the first part I did in the theater. I worked with a director I got on with really well, just like Andrew. His name was Daniel Kramer, and we had an amazing time. We did Bent in the West End with Alan Cumming. We had a brilliant time, and it was one of those experiences where you know no other play would be like that. So it’s difficult because you feel a bit spoiled, and you look at other jobs in the future, and you think, “It’ll never be like that again.” But hopefully it will! I may just have to be a patient boy and wait for it. There was a feeling on the film that there was something quite unique about it — you can’t imagine that it will cause the film to be a great success, because you don’t want to be egotistical. But you hope that what you’re putting into the film will be recognized a bit, and that’s the nice thing about what’s happened so far. We committed a huge amount of energy, and that’s being recognized by the people who’ve seen it. TC: I think it’s a very special experience. Andrew gave me a lot of space to maneuver within Russell, and he gave me a lot of permission to really take it on. The shots are often 10 or 12 minutes long, so we didn’t have to worry about continuity. There was a real freedom within what we were doing, a real spontaneity. There were no restrictions! And we shot in sequence, which was a wonderful gift. I’m shooting a new thing right now, and it’s so completely different. I’d love to work like this again. Andrew has been vocal about how he wanted to create a movie that presented gay relationships in a new and honest light. How did you approach this idea? Did you purposely try to do something new and different? TC: I just thought it was a love story between two men. It’s just about a guy who falls in love, and I think for Russell in particular, since he doesn’t operate within a gay world — Russell’s friends are straight, and he’s always been in a straight environment — he’s just living in life and falling in love with Glen. I guess what Andrew means is that it’s just normal, not issue-based. It’s two people falling in love. CN: I suppose once you get beyond the mere fact that it’s two men and there’s no women, beyond the fact that it’s penises and not vaginas, then everything is much the same. There’s very little in the film which I think is a specific emotional or environmental situation that people beyond a gay audience couldn’t understand. We were very careful that it wouldn’t become self-referential, or looking inward toward a perceived audience. But Tom seemed very at ease with it! [Laughs.] He didn’t seem to have any trouble.

USA Orders Initial Few Sitcom Aircraft aircraft pilots

USA Network Logo design design USA keeps growing into comedy, acquiring its initial few half-hour sitcom aircraft aircraft pilots including one from Nathan Lane.Lane will executive-produce and possibly star in the still untitled show a great unlucky actor who puts his Broadway aspirations concerning the back writers revisit Texas to take care of his sick father. Douglas McGrath (Bullets Over Broadway, I am Unsure How She'll It) will write and executive-produce.Fall Preview: Have the lowdown relating to this season's must-see new showsThe second pilot, Paging Dr. Reed, follows two brothers and sisters overtaking their late father's medical practice. Michael Feldman (That's So Raven, Everybody Loves Raymond) will write and executive-produce."The pickup of thesehalf-hour comedy aircraft aircraft pilots underscores our persistence for broadening the advantage of USA's entertainment brand," USA Co-Presidents Chris McCumber and Rob Wachtel mentioned. "We're excited to becollaborating with most likely probably the most distinct voices available as weopen around new genres."

5 top Steven Soderbergh Movies

5 top Steven Soderbergh Movies By Christy Lemire September 9, 2011 Photo by Universal Art galleries/Bob Marshak "Erin Brockovich" La (AP) Steven Soderbergh makes all types of film imaginable, from fizzy comedies to penetrating dramas, from experimental indies with small budgets to star-studded extravaganzas. But he always seems ready to try anything, which is the reason why is him so vital and exciting.Soderbergh's latest, "Contagion," follows a deadly virus since it advances worldwide, proclaiming an incredible number of sufferers. It provides an chance to roll-up our masturbator masturbator sleeves and clean our hands and pick five in the director's best films: "Traffic" (2000): Soderbergh won the Academy Award for top director even though he was competing against themselves with another film about this list, "Erin Brockovich" for his sprawling depiction in the worldwide drug trade. Not just a moment from the 147-minute epic rings false. Soderbergh juggles several complex, connected story lines together with an enormous, large-title ensemble and helps it be all look easy. Becoming their very own cinematographer of course beneath the title Peter Andrews, Soderbergh explores the pervasiveness of medication as well as the futility of government efforts to avoid them using a hyperreality, one that's raw and edgy sometimes, dreamy and almost hallucinatory at others. Michael Douglas, Catherine Zeta-Manley, Don Cheadle plus an Oscar-winning Benicio Del Toro are most likely the very best-notch cast. "From Sight" (1998): Soderbergh captures an ideal tone every time, whilst he includes numerous genres. Based on the Elmore Leonard novel, this story in the improbable connection that forms from the career bank crook (George Clooney) as well as the federal marshal who's after him (Jennifer Lopez) ranges from buddy comedy to gripping suspense to sexy, noir-style romance. Clooney and Lopez have crazy, sexy chemistry simply because they exchange banter in Scott Frank's script that may 't be tight or snappier. They're each within the height from the charisma, and together they're irresistible. The wonderful supporting cast includes Ving Rhames, Albert Brooks, Cheadle (again), Steve Zahn and Catherine Keener. "The Limey" (1999): Terence Stamp is only a complete bad-ass just like a British ex-disadvantage who travels to La to check out the dying of his daughter. His performance works well and unquestionably, but Soderbergh comes with an intriguing contrast by telling the story in fragments, in overlapping wisps of recollections and dialogue, which adds for the air of mystery and keeps us taking a chance. Stamp prowls a blistering, bleached-out LA, a combination of downtown warehouses and cheap houses, twinkling beaches and staggering hillside mansions. He's hunting an imaginative, laid-back record producer, carried out perfectly by Peter Fonda, who was simply connected with this much-youthful girl when she died. Soderbergh very easily blends these actors' aura of '60s awesome along with his own contemporary style. "Erin Brockovich" (2000): Soderbergh takes a daunting and apparently dry subject the actual story in the industrial pollution of the town's water supply and turns it into an beneficial tale of redemption that's warm, human, funny in addition to sexy. That largely has associated with Jennifer Aniston, who acquired a best-actress Oscar for playing the title character, just one mother of three who assumes a massive class-action suit while being data clerk on her lawyer (Albert Finney). Roberts radiates sass and inteligence together with her clingy clothes and dirty mouth, and she's an entire hoot. Aaron Eckhart counters that, getting sweetness and tenderness towards the film since the biker nearby who cares for Erin's kids. "Ocean's 11" (2001): His remake in the 1960 Rat Pack caper is ideal escapist entertainment: fun and fast-paced, clever and spontaneous, light and full of laughs. Clooney, Roberts, Matt Damon and Kaira Pitt are clearly obtaining a ball bouncing off each other, never taking themselves too seriously despite their Hollywood heavyweight status. Clooney stars inside the Frank Sinatra role as Danny Ocean, who amasses a rag-tag crew of cons to tug off his latest heist: a robbery of Las Vegas' finest casinos concerning the evening from the heavyweight championship fight, once they become acquainted with our prime fresh paint paint rollers are available in town as well as the vault holds about $150 million. The undeniable fact that that is crazy, yet goes so easily, is simply a part of why it's this kind of kick.Copyright 2011 Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten, or redistributed. 5 top Steven Soderbergh Movies By Christy Lemire September 9, 2011 "Erin Brockovich" PHOTO CREDIT Universal Art galleries/Bob Marshak La (AP) Steven Soderbergh makes all types of film imaginable, from fizzy comedies to penetrating dramas, from experimental indies with small budgets to star-studded extravaganzas. But he always seems ready to try anything, which is the reason why is him so vital and exciting.Soderbergh's latest, "Contagion," follows a deadly virus since it advances worldwide, proclaiming countless sufferers. It provides an chance to roll-up our masturbator masturbator sleeves and clean our hands and pick five in the director's best films: "Traffic" (2000): Soderbergh won the Academy Award for top director even though he was competing against themselves with another film relating to this list, "Erin Brockovich" for his sprawling depiction in the worldwide drug trade. Not just a moment from the 147-minute epic rings false. Soderbergh juggles several complex, connected story lines together with an enormous, large-title ensemble and helps it be all look easy. Becoming their very own cinematographer of course beneath the title Peter Andrews, Soderbergh explores the pervasiveness of medication as well as the futility of government efforts to avoid them using a hyperreality, one that's raw and edgy sometimes, dreamy and almost hallucinatory at others. Michael Douglas, Catherine Zeta-Manley, Don Cheadle plus an Oscar-winning Benicio Del Toro are most likely the very best-notch cast. "From Sight" (1998): Soderbergh captures an ideal tone every time, whilst he includes numerous genres. Good Elmore Leonard novel, this story in the improbable connection that forms from the career bank crook (George Clooney) as well as the federal marshal who's after him (Jennifer Lopez) ranges from buddy comedy to gripping suspense to sexy, noir-style romance. Clooney and Lopez have crazy, sexy chemistry simply because they exchange banter in Scott Frank's script that may 't be tight or snappier. They're each within the height from the charisma, and together they're irresistible. The wonderful supporting cast includes Ving Rhames, Albert Brooks, Cheadle (again), Steve Zahn and Catherine Keener. "The Limey" (1999): Terence Stamp is only a complete bad-ass just like a British ex-disadvantage who travels to La to check out the dying of his daughter. His performance works well and unquestionably, but Soderbergh comes with an intriguing contrast by telling the story in fragments, in overlapping wisps of recollections and dialogue, which adds for the air of mystery and keeps us taking a chance. Stamp prowls a blistering, bleached-out LA, a combination of downtown warehouses and cheap houses, twinkling beaches and staggering hillside mansions. He's hunting an imaginative, laid-back record producer, carried out perfectly by Peter Fonda, who was simply connected with this much-youthful girl when she died. Soderbergh very easily blends these actors' aura of '60s awesome along with his own contemporary style. "Erin Brockovich" (2000): Soderbergh takes a daunting and apparently dry subject the actual story in the industrial pollution from the town's water supply and turns it into an beneficial tale of redemption that's warm, human, funny in addition to sexy. That largely has associated with Jennifer Aniston, who acquired a best-actress Oscar for playing the title character, just one mother of three who assumes a massive class-action suit while being data clerk on her behalf lawyer (Albert Finney). Roberts radiates sass and inteligence along with her clingy clothes and dirty mouth, and she's an entire hoot. Aaron Eckhart counters that, getting sweetness and tenderness for the film since the biker nearby who cares for Erin's kids. "Ocean's 11" (2001): His remake in the 1960 Rat Pack caper is good escapist entertainment: fun and fast-paced, clever and spontaneous, light and full of laughs. Clooney, Roberts, Matt Damon and Kaira Pitt are clearly obtaining a ball bouncing off each other, never taking themselves too seriously despite their Hollywood heavyweight status. Clooney stars inside the Frank Sinatra role as Danny Ocean, who amasses a rag-tag crew of cons to tug off his latest heist: a robbery of Las Vegas' finest casinos concerning the evening from the heavyweight championship fight, once they become acquainted with our prime fresh paint paint rollers are available in town as well as the vault holds about $150 million. The fact that is crazy, yet goes so easily, is simply a a part of why it's this kind of kick.Copyright 2011 Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten, or redistributed.

Toronto: Big Stars, Big Risks Hit Film Fest

Only at a film festival:I left a movie todayin which the basic plotline had to do with a man trying to deal with his wife’s terminal cancer diagnosis and all the horrible things that entails. Afterwards, the pic’spublicist comes up and asks how I liked it.”Well, it was kind of depressing,” I said. To which she replied, “What exactly was depressing about it?” Spin, spin, spin. That’s what you get at film fests. At the more serious-minded Toronto Film Festival, though, thingsswung into high gear today. The big guns came into town, including the casts of Moneyball and The Ides Of March which had back-to-back premieres Friday night.At the Soho House pre-party for the Ides premiere, I talked to Philip Seymour Hoffman and suggested he was probably the first actor in history who actually had to walk two Red Carpets almost simultaneously since he stars in bothfilms.Hoffmansaid he was about to collapsefromhaving done junket interviews all day. Sony Pictures Marketinghoncho Marc Weinstock is shepherding both films and said it was his idea to do the back-to-back premieres after the festival came to him. When it rains, it pours — and after the heartbreak of seeing its frontrunner The Social Network succumb to the Weinsteins’The King’s Speech at the last Oscars, Sony is taking any awards talk cautiously this time around.As studio head Amy Pascal told me, “It’s just nice to have some good movies to release.I still feel bad about [Social Network director] David Fincher,” she said in reference to his loss to Tom Hooper in the directing category. Buthe’s back with The Girl With The Dragon Tattoo this holiday season. Also at the party: Ides Of March star Ryan Gosling who was was happy not only about what he said was a great experience thanks to his director George Clooney on that pic, but also because his Drive director Nicolas Winding Refn was there supporting him.I asked Refn about Albert Brooks’ startling supporting turn as the heavyand the helmer stated unequivocally that “he should win the Oscar”. And Brooks just might as he gets to play a bad guy for the first time in his career and Academy members can’t resist this kind of switch and bait. Also at the party was Alliance head Victor Lowey who is the Canadian distributorresponsible for Ides,Drive, and 22 other films this year. (Lowey told me he’s a big fan of Deadline, saying he “wakes up with it”.) Hepicked up Clooney’sThe Ides Of March even before Sony did. He also has Drive so he is in the Ryan Gosling business big-time. Clooney spent much of the party talking to Sony’s top honcho Sir Howard Stringer and SPE chairman Michael Lynton. George knows where his bread is buttered in this casesince it’s up to Sony to sell Ides which was not a home-grown product. When I suggested to co-star Paul Giamatti that the political film may hit too close to home now (particularly since the John Edwards scandal) he said he hopes not. But it looks pretty close to me. Clooney’s parrtner Grant Heslov was also there talking up his new Warner Bros film Argo and its director Ben Affleck. Heslov says Ben is the real deal as a helmer. Harvey Weinstein has a shared cinematic history with Clooney (Confessions Of A Dangerous Mind) and Gosling (last year’s Blue Valentine). But he helda small sitdown dinner party in honor ofFriday night’s North American premiere of his Cannesand Telluride sensation The Artist. It’s about a washed-up silent film star reeling from the advent of talkies. Harvey has high hopes for this one as a newly reconceivedblack-and-white silent moviewhich seemsto cross all borders. At dinner, star Jean DuJardin (whospeaksEnglish about aswell as I speak French) but The Artist,I asked whether he’d had any trepidation working opposite a scene-stealing Jack Russell terrier named Uggy who plays his constantcompanion in the film.DuJardin said he had to put meat all over himself and therefore thesmell of sausauge always surrounded him. He’snot surewhat the Oscar race is all about but should get used to it, since I’m certain he will be a nominee because the actors branch realizes the essence of silent film acting is the essence of film acting together.Dujardin and I alsodiscussed the James Bond spoof film he did, O.S.S. Nevertheless, he’s convinced that his French filmsgot him the Artist gig. Granted, it looks like a bumper crop of actors competing for Best Actor this year including Clooney, Gosling, Brad Pitt, and Gary Oldman among others so it’s difficult to make a call this early. But I absolutely guarantee you DuJardin will be among them. And while we are at it: can’t we get some sort of prize forUggy? Speaking of Weinstein’s Oscar history, Iran intoThe King’s Speech’s Oscar winning British producer Gareth Unwin at the late-night Alliance party in the Roosevelt Room. One year to the day of the launch ofthat campaign, he says the Oscar has made a significant difference in his career and he has a couple of projects in the pipeline. These include King’s Speech‘s Oscar-winning screenwriter David Seidler’s next project which is also in an historical vein.

Reporter Gets Disapproving Nod From George Clooney For Asking Relationship Question

LOS ANGELES, Calif. -- Note to journalists: Dont ask George Clooney about his love life. When a People magazine reporter asked Clooney at the Toronto Film Festival, at a panel to promote the stars new film, which he also directs The Ides of March which was harder directing or dating in the spotlight, the Oscar winner scolded him like a kind school teacher. Well you know, its funny. I knew someone would do it. Im a little disappointed its you, Clooney said. Everyone here is a little ashamed of you right now. Honestly, Clooney added. Still, George noted the reporter had something to be proud of. Listen, I think its tremendous you asked the question, go back and tell your editor you asked the question, he said with a smile. As previously reported on AccessHollywood.com, Clooney is currently involved with former Dancing with the Stars contestant Stacy Keibler, while his ex-girlfriend, Elisabetta Canalis is a current contender in the competition. Copyright 2011 by NBC Universal, Inc. All rights reserved.This material may not be published, broadcast, rewritten or redistributed.

Devine swings at 'Perfect Pitch'

DevineAdam Devine is in talks to join Anna Kendrick and Rebel Wilson in Gold Circle Films' romantic comedy "Pitch Perfect," which Universal is aboard to distribute.Jason Moore ("Avenue Q") is directing from Kay Cannon's script, which is based on the nonfiction book by GQ magazine's Mickey Rapkin. Brownstone Prods. partners Elizabeth Banks and Max Handelman are producing. Devine, co-creator and star of Comedy Central's "Workaholics," will play the leader of a competitive collegiate a capella group. Production is skedded to start next month in New Orleans. DeVine is repped by UTA and Avalon Management. Contact Jeff Sneider at jeff.sneider@variety.com

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