Now It's Tom Cruise's Turn to Join the Star is Born Rumor Wheel

Let's see - after Russell Crowe, Christian Bale, Leonardo DiCaprio and now reportedly Tom Cruise, who's left to consider to star opposite Beyonc Knowles in Clint Eastwood's long-planned, probably-never-gonna-happen Star is Born remake? George Clooney? Brad Pitt? Liam Neeson? Viggo Mortensen? Jean Dujardin? Philip Seymour Hoffman? Albert Brooks? Charlie Sheen? Matthew Broderick? Peter Dinklage? Richard Dreyfuss? (Too busy.) Ned Beatty? Danny McBride? Roberto Benigni? Peyton Manning? Who did I forget? [Deadline]

9 Pro Tips for Landing That Action Star Gig from John Carters Taylor Kitsch

Taylor Kitsch is about to have a very big 2012. In addition to carrying Disneys ambitious sci-fi adaptation John Carter as the titular Edgar Rice Burroughs hero, a Civil War veteran transported to Mars, hes also fronting Peter Bergs alien invasion actioner Battleship and starring in Oliver Stones Savages later this year. But as Kitsch revealed to Movieline, the John Carter job wasnt easy to get - and the toll it took on him during production was a challenge in itself. So who better to offer pro tips on nabbing the spotlight and handling the pressure of becoming an action hero than Kitsch, on the eve of a new chapter in his career? It should be noted that Kitsch is no stranger to action, having appeared in films like Snakes on a Plane, The Covenant, and X-Men Origins: Wolverine already in his six-year career, and no stranger to the spotlight thanks to his beloved turn as Tim Riggins on Friday Night Lights. But John Carter marks his first starring role and by far his biggest film to date, a sprawling epic set on a vast alien world envisioned in great detail by director Andrew Stanton (Finding Nemo, WALL-E). So how did Kitsch land the coveted role? What does his John Carter role share in common with his last one, as the late South African photojournalist Kevin Carter, in The Bang Bang Club? All this and more as Taylor Kitsch shares his pro tips on landing (and keeping) that action hero gig. 1. Dont think of yourself as an action star. Thats you guys labeling me, so me saying yes to that I cant say yes to that because I refuse to put myself in that bubble. You saw Bang Bang Club, thats no action movie. We hope to keep throwing you curveballs so you cant put me in a spot like that. 2. Ignore the hype and the naysayers worry about putting pressure on yourself to do the work so you can sleep at night. The pressure is what I put myself on in the sense of getting and doing the best I can, and having no regrets with what I put into it. Thats the pressure. The pressure now is that you can overthink everything, from how its going to do and how people are going to perceive it, you, this and that. If you want to drive yourself crazy over that you can, but I think thats why you put so much into it. So you can lay down at night and be okay with what you did and be like, you know what? I still wouldnt change it. If you say Im fucking shit, I still wouldnt change it. 3. Be picky. Taking on a blockbuster gig is a huge commitment, so make sure youre doing it for the right reasons. Hopefully you feel that, you see it. You see the emotion and the energy that it takes to really do what it deserves, potentially. I think thats what its about, and thats why Im so picky with the jobs. Im all in. Im never going to do a job for the sake of working. So were at a point now of looking at the next job, or whatever that is, and my people, my team, have been with me from Day One. If I dont work for a year, Im OK with it. Were not going to do it unless we have to do it. "I was and still am okay with doing indies for the rest of my life. I dont need to be in the spotlight; if anything, Ill push it away even more. I live in Austin. I love the work. I love the storytelling, and thats what the first meeting represented. I could play so many parts in this one character, from the Western, from the guy that doesnt give a shit, to the guy whos finally come full circle and become the leader that hes pushed away for so long. I love that, and I love working with an Andrew Stanton, a Willem Dafoe, a Mark Strong, a Sam Morton, a Thomas Haden Church, a Lynn Collins." 4. Make sure there is a "there" there. "Man, I will be shit if you give me nothing to play. [...] Any actor will tell you, the more you can give me, the more depth I can escape into, the better its going to be on every level." 5. Flawed characters are more interesting to play, and are worth diving into headfirst -- even if it takes a lot out of you. "Its not the war thing, but the more interesting guys I grew up watching -- I like watching the more flawed guys than the perfect guys, and thats more interesting for me to play. Thats more real to me. I love that and I love bringing people into a performance and it takes so fucking much out of you to do it honestly, but its worth it. Kev Carter you wont meet a guy more flawed. That crushed me." 6. Remember to maintain balance with the emotional and physical demands of carrying a tentpole especially when they require regular, long-term maintenance of action-hero muscles. I was beyond exhausted in this film. Yeah, six day weeks is what killed me. I think I just pushed myself -- I dont regret it because you see it, but at times I could have had a better balance, maybe, just because waking up that early so often and the lack of sleep and pushing yourself that much, to have that much energy onscreen for seven months, to be at that aesthetic! Itd be a lot easier if I had one shirtless scene and I could just get toned for that then be OK and balance it out, but it was 11 months that I was on that diet and training regimen. Its very unreal to do that and to look that way, obviously, but its what I guess I demanded out of myself. This goes back to Kev [Carter, of the Bang Bang Club], too. No one asked me to lose a pound, I wanted to. 7. That said, dont worry too much about how you look, stud. Fuck, man. You never want to be that conscious in a scene. Thatd mean Id be so totally out of John Carter mode, if Im really that conscious of how I look and the lighting. Thats really bad. [But] you definitely have to do what you have to do to put yourself in the moment so its connecting to whatever it is. I think youve just got to get to a point where youre okay with how you look and what youre doing and you leave it and let it lay. Whatever it is, I look at that scene and it is what it is 8. Go out for a role knowing its yours to lose. The audition process for John Carter was particularly grueling, with five actors and five actresses vying for the same roles over the course of two intense days. Man, I was just so focused, I was so myopic with it. I prepped so much for that audition. Ive always been an underdog and I came in on this gig that way, but it was like I felt it was mine to lose. I went in with that thinking really, if I can go in all out on this, Im going to go in and kill it as much as I can. But it was a tough process, for sure. Two 14-hour days and youve got to remember, whats bizarre about getting roles and auditioning for the most part is you do your prep and everything for the most part after you get the role. Its like OK, now Ive got to sit down and really sketch this guy out. Its a trip. 9. Whatever you do, do not go out partying the night before a big audition. I wont call the guy out, but I know and it gave me more oomph, put it that way, knowing that this one guy that was up for it was out partying quite hard the night before or two nights before. No matter what, I hear about that and I know I got ya, man. Its like, good on ya for making it a little bit easier on me. John Carter is in theaters this week. Read more on the film here. Follow Jen Yamato on Twitter. Follow Movieline on Twitter.

Alcon Entertainment StartsTV Division, Taps Former The brand new the new sony TV Professional Sharon Hall To Function It

Warner Bros.-based Alcon Entertainment is beginning a TV division, Alcon Television, to develop, finance and create original programming for broadcast and cable tv. The brand new the new sony Pictures TV’s outgoing mind of drama Sharon Hall is at discussions to function the machine as leader, controlling development and production and verifying to Alcon co-founders and co-CEOs Broderick Manley and Andrew Kosove. She is dependent in Alcon’s Century City offices. Hall grew to become part of The brand new the new sony TV in 2005 becoming an executive consultant to supervise the fall development slate and pilot production. She was upped to SVP Drama noisy . 2006 and EVP last season. She's exiting the studio thinking about the pending arrival of Suzanne Patmore-Gibbs who'll dominate The brand new the new sony Televisions drama department as well as oversee the art galleries worldwide co-productions eyed for your U.S. market.

CSI: What Did You Think of Elisabeth Shue's Debut?

Elisabeth Shue Out with the old, in with the Shue.Wednesday's CSI began the process of replacing Marg Helgenberger's Catherine Willows. It did so with the introduction of Elisabeth Shue as Julie "Finn" Finlay, a blood-spatter expert brought in by D.B. Russell (Ted Danson) to sort through a particularly grisly and confusing crime scene. And one thing's for sure: These two have complicated history.Marg Helgenberger says goodbye to CSIAlthough Finn initially rebuffs Russell's invite to consult for the CSI team ("We know how it ended last time," she says), it's clear she has respect for the man. After all, the first time we see Finn echoes the way we met Russell earlier this season: lying in the middle of a crime scene. "You think you hate me," Russell tells her. "But that whole lying on the floor playing the victim thing kind of says you miss me."Soon enough, Finn comes around and offers to take a look at this particular case. But she sets strict ground rules. Chief among them: "We are never going to talk about the past," Finn says.So, What's the big secret? "Russell, as far as he's told Catherine, has only... slept with one woman and loved one woman in his life," executive producer Carol Mendelsohn says. "But we will find out that Finn was his work wife. That's a really interesting relationship." Adds executive producer Don McGill: "The characters have great chemistry and I think they have a very interesting, very intimate relationship professionally."Get more scoop on your favorite shows in our Winter TV previewIndeed, Shue and Danson's scenes were playful and fun. Much like Danson has done all season, Shue brings a lighter energy to show, which is a nice relief from the sometimes bleak subject matter.In the end, Finn proved her theory that "blood spatter can often tell you more than a test tube." Although the team had a prime suspect based on DNA analysis, Finn'sblood analysis proved his innocence. And that was good enough for D.B. (short for Diebenkorn, it turns out) to offer Finn a regular gig with the graveyard shift."Maybe I'll call you," Finn says as she walks away. Spoiler alert: She'll be back.What did you think of Shue's character? Do you like the chemistry between Russell and Finn?

VIDEO: 'The Help's' Viola Davis on Race in Hollywood

VIDEO: 'The Help's' Viola Davis on Race in Hollywood By Scott Feinberg February 14, 2012 Photo by DreamWorks Viola Davis in "The Help" A few days ago, I had the opportunity to moderate a Q&A with best actress Oscar nominee Viola Davis ("The Help"), one of only two that the 46-year-old -- like all of this year's nominees -- is permitted to do post-nominations, according to new rules announced by the Academy last September.I hope that you will check out video of our entire 40-minute conversation below and/or read some transcribed highlights of it below.On growing up as part of the only black family in Central Falls, Rhode Island in the 1960s "Every place your mind would take you with that is exactly what our lives were like everyday -- constantly being called 'ugly,' 'black,' 'n*gger'; people spitting at you out of cars and throwing things at you; boys chasing me after school -- and I mean a crowd of them -- wanting to beat me up; always having to defend yourself; always fighting; and, basically, kind of living on the periphery of the culture."On why she wanted to get into the business "If it were just a dream to be famous then I probably would have died a really quick death, because there is nothing about me that equals fame. I'm not a standup comedian. I don't sing. It's like I'm like -- bam! -- supermodel-beautiful. I didn't aspire to be just a celebrity; I aspired to be an actress... I always wanted to be respected as someone who knew their craft."On the sense of pressure that she felt leading up to the start of filming "Doubt" (2008), in which she appeared for only eight minutes but was rewarded with a best supporting actress Oscar nomination "I was really waiting for that 'a-ha moment' because, I said, 'I'm gonna be opposite Meryl Streep and she's gonna tear me a new a-hole!'" On how she hopes people will -- and won't -- see her in the future "I never want anyone to say that she's not an actress. And, too often -- I'm just gonna say it -- too often, with African-Americans, they're dismissed as not being actors, you know? 'She's a comedian,' or 'she's a singer,' or 'she's a' whatever. But she's not 'an actress' -- not an actress in the same sense as a Glenn Close, or a Meryl Streep, or a Sigourney Weaver. And the reason why I mention these people? These are all people -- a lot of Yale or William & Mary; they came from Broadway, they came from the stage; they really studied; and they have a craft. I want you to think of me in the same vein as you think of them, minus this [points at her skin], just beyond this."On the story behind "The Help," which was sort of a pay-it-forward exercise (Tate Taylor, the childhood best friend of the author Kathryn Stockett, was given her blessing to direct a film version of it when she couldn't find a publisher; then it became a best-seller, and she stood by him amidst great pressure to get a bigger name to direct it; he cast his close friend Octavia Spencer, a struggling character actress, in the meatiest part of her career; Spencer fanagled an audition for her close friend Ahna O'Reilly, who wound up with a key part in the film; and the list goes on) "It's a great story. It's the kind of story that makes people who have dream stay in the business. It really is. It's just magical. It's a real story of friendship and integrity."On the challenge of communicating the feelings of Aibileen Clark, her character in "The Help," who, like so many women of her race and generation, kept most of her thoughts and feelings to herself "Every character in this movie is flamboyant except for Aibilene. I had issues with that because you sometimes feel like your talent is gonna be lost... I had some trepidation about that... But, in actuality, it does take a lot of craft to put together a quiet character."On her husband Julius Tennon, who has been by her side at virtually every screening, Q&A, party, and awards show that she has attended "I don't know how I got a great husband. I mean, God just blessed me with that one. Because, trust me, before him I was not making good choices. So I was just absolutely blessed. I just prayed for that man... He's my secret weapon because he's so gregarious and he's so filled with joy. Me? I can sometimes be more cynical and I'm very shy."On how she's coping with the spotlight and pressures of the awards season "I'm trying to enjoy it. It's on a whole different level. So when I say 'I'm trying to enjoy it,' it doesn't mean that I'm not enjoying it. It's really wonderful. Truly. Truly. It's just overwhelming. It really is. People don't understand. Like, lately, people started talking about how you look. Nobody's ever talked about how I looked, okay? And so you're looking at picture of yourself and you think you're looking at a whole different human being. That's what it feels like. That's exactly what it feels like. It feels like this whole different human being -- this persona -- is becoming bigger than who you are. And who you are is a girl with cornrows at home that forgot to color her hair, so the greys are coming out, you know? And running around with ashy feet at home, running after my 19-month-old daughter. And cooking at home. That's who I am. And so that's what's overwhelming about it. And you almost want to rise up and meet it where it's at -- this persona, this celebrity -- but you can't. It's not even you. Emma Stone always says, 'What's happening to me is not really happening to me.' And that's what it feels like. But, trust me, it's truly a blessing. You have to know that if you dream big, and then it comes at you, you gotta step up to the plate!"On one of the key moments in her life: when, in third grade, she challenged a white racist who had bullied her -- and who was supposedly the fastest kid in school -- to a foot race outside, on cement, in the winter, without even wearing socks or shoes (because her socks were falling apart and her family couldn't afford to buy her shoes that fit), and still managed to beat him "That's a metaphor I use for my career, you know? You can't be perceived as 'the black actress who doesn't get the same kind of roles as the white actress.' You gotta run the same race. You gotta give the same quality of performances. You gotta have the same standard of excellence, even though people know that you're coming to the race in a deficit. That's just what life is about." The Hollywood Reporter VIDEO: 'The Help's' Viola Davis on Race in Hollywood By Scott Feinberg February 14, 2012 Viola Davis in "The Help" PHOTO CREDIT DreamWorks A few days ago, I had the opportunity to moderate a Q&A with best actress Oscar nominee Viola Davis ("The Help"), one of only two that the 46-year-old -- like all of this year's nominees -- is permitted to do post-nominations, according to new rules announced by the Academy last September.I hope that you will check out video of our entire 40-minute conversation below and/or read some transcribed highlights of it below.On growing up as part of the only black family in Central Falls, Rhode Island in the 1960s "Every place your mind would take you with that is exactly what our lives were like everyday -- constantly being called 'ugly,' 'black,' 'n*gger'; people spitting at you out of cars and throwing things at you; boys chasing me after school -- and I mean a crowd of them -- wanting to beat me up; always having to defend yourself; always fighting; and, basically, kind of living on the periphery of the culture."On why she wanted to get into the business "If it were just a dream to be famous then I probably would have died a really quick death, because there is nothing about me that equals fame. I'm not a standup comedian. I don't sing. It's like I'm like -- bam! -- supermodel-beautiful. I didn't aspire to be just a celebrity; I aspired to be an actress... I always wanted to be respected as someone who knew their craft."On the sense of pressure that she felt leading up to the start of filming "Doubt" (2008), in which she appeared for only eight minutes but was rewarded with a best supporting actress Oscar nomination "I was really waiting for that 'a-ha moment' because, I said, 'I'm gonna be opposite Meryl Streep and she's gonna tear me a new a-hole!'" On how she hopes people will -- and won't -- see her in the future "I never want anyone to say that she's not an actress. And, too often -- I'm just gonna say it -- too often, with African-Americans, they're dismissed as not being actors, you know? 'She's a comedian,' or 'she's a singer,' or 'she's a' whatever. But she's not 'an actress' -- not an actress in the same sense as a Glenn Close, or a Meryl Streep, or a Sigourney Weaver. And the reason why I mention these people? These are all people -- a lot of Yale or William & Mary; they came from Broadway, they came from the stage; they really studied; and they have a craft. I want you to think of me in the same vein as you think of them, minus this [points at her skin], just beyond this."On the story behind "The Help," which was sort of a pay-it-forward exercise (Tate Taylor, the childhood best friend of the author Kathryn Stockett, was given her blessing to direct a film version of it when she couldn't find a publisher; then it became a best-seller, and she stood by him amidst great pressure to get a bigger name to direct it; he cast his close friend Octavia Spencer, a struggling character actress, in the meatiest part of her career; Spencer fanagled an audition for her close friend Ahna O'Reilly, who wound up with a key part in the film; and the list goes on) "It's a great story. It's the kind of story that makes people who have dream stay in the business. It really is. It's just magical. It's a real story of friendship and integrity."On the challenge of communicating the feelings of Aibileen Clark, her character in "The Help," who, like so many women of her race and generation, kept most of her thoughts and feelings to herself "Every character in this movie is flamboyant except for Aibilene. I had issues with that because you sometimes feel like your talent is gonna be lost... I had some trepidation about that... But, in actuality, it does take a lot of craft to put together a quiet character."On her husband Julius Tennon, who has been by her side at virtually every screening, Q&A, party, and awards show that she has attended "I don't know how I got a great husband. I mean, God just blessed me with that one. Because, trust me, before him I was not making good choices. So I was just absolutely blessed. I just prayed for that man... He's my secret weapon because he's so gregarious and he's so filled with joy. Me? I can sometimes be more cynical and I'm very shy."On how she's coping with the spotlight and pressures of the awards season "I'm trying to enjoy it. It's on a whole different level. So when I say 'I'm trying to enjoy it,' it doesn't mean that I'm not enjoying it. It's really wonderful. Truly. Truly. It's just overwhelming. It really is. People don't understand. Like, lately, people started talking about how you look. Nobody's ever talked about how I looked, okay? And so you're looking at picture of yourself and you think you're looking at a whole different human being. That's what it feels like. That's exactly what it feels like. It feels like this whole different human being -- this persona -- is becoming bigger than who you are. And who you are is a girl with cornrows at home that forgot to color her hair, so the greys are coming out, you know? And running around with ashy feet at home, running after my 19-month-old daughter. And cooking at home. That's who I am. And so that's what's overwhelming about it. And you almost want to rise up and meet it where it's at -- this persona, this celebrity -- but you can't. It's not even you. Emma Stone always says, 'What's happening to me is not really happening to me.' And that's what it feels like. But, trust me, it's truly a blessing. You have to know that if you dream big, and then it comes at you, you gotta step up to the plate!"On one of the key moments in her life: when, in third grade, she challenged a white racist who had bullied her -- and who was supposedly the fastest kid in school -- to a foot race outside, on cement, in the winter, without even wearing socks or shoes (because her socks were falling apart and her family couldn't afford to buy her shoes that fit), and still managed to beat him "That's a metaphor I use for my career, you know? You can't be perceived as 'the black actress who doesn't get the same kind of roles as the white actress.' You gotta run the same race. You gotta give the same quality of performances. You gotta have the same standard of excellence, even though people know that you're coming to the race in a deficit. That's just what life is about." The Hollywood Reporter

Tisch School alum make Sundance impressions

The Sundance film fest has converted to a greater-wattage alumni gathering for NYU's Tisch School in the Arts. Lately, a slew of Tisch alums made impressions with numerous hot characteristics within the fest.Foremost incorporated within this was "Filly Brown" star Gina Rodriguez ('06), which has received strong reviews on her behalf perf just like a youthful Latina stylish-hop artist. Thesp inked a holding deal with ABC (where she's prone to join Marc Cherry's "Devious Service personnel") shortly just before the fest began."Robot and Frank," that the new the new sony Pictures Worldwide Purchases and Samuel Goldwyn Films teamed to obtain mid-fest, arises from director Mike Schreier ('03) and scribe Christopher D. Ford ('04). Borderline Films ("Martha Marcy May Marlene") principals Antonio Campos ('07), Josh Mond ('06) and Sean Durkin ('06) returned to Sundance with author-director Campos' soph feature "Simon Killer," which closed a deal with IFC Films. Tisch dean Mary Schmidt Campbell reported the Borderline trio's partnership as one example of the lasting ties the school fosters among its students."They met at Tisch as well as, since departing have produced a reliable string of exciting new films," she mentioned.Other Tisch-ers who made news within the fest were Josh Radnor ('99), whose "Liberal Arts" was bought by IFC Films, and director Colin Trevorrow ('99) and author Derek Connolly ('98), whose "Safety Not Guaranteed" was clicked on up by FilmDistrict. :- Rob Sneider ('06) Contact Rob Sneider at rob.sneider@variety.com

Viacom Boss financials launched

Viacom Boss Philippe Dauman's fiscal 2011 compensation totaled $43 million together with a $3.5 million base salary and hefty $20 million cash bonus Up from $11 million the prior year, based on a filing using the Investments and Exchange Commission late Friday. The total amount was compensated available and investment.His overall pay fell from $84 million this year when Dauman was the greatest compensated Boss in corporate America.Chief operating officer Thomas Dooley gained $34 million, his base salary of $2.5 million along with a $16 million bonus which was nearly double the amount year earlier figure.And also the company's billionaire controlling investor Sumner Redstone received $21 million in compensation having a $1.75 million base salary along with a $ten million bonus, also nearly the double 2010 bonus.Viacom stated within the filing that "The aim of our compensation programs would be to make certain that people possess the gifted professionals and employees we have to achieve our proper plans and deliver financial returns to stockholders over short term and long-term. To achieve that, we have to attract and retain great managers and employees, and compensate them in ways that encourages and rewards their performance."Viacom's fiscal year finishes Sept. 30. The organization stated it'll hold its annual shareholders' meeting at its NY City headquarters on March 8. Contact the range newsroom at news@variety.com