Tyler Perry

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For richer: "Married" life is good box office

 

A trio of awards-season hopefuls were forced to cede the spotlight at the weekend box office to the latest populist hit from Tyler Perry, the writer-director-actor-producer whose commercial success is inversely proportional to his critical respect.

 

Perry's "Why Did I Get Married?" took the top spot with three-day sales of $21.35 million, according to final data issued Monday -- in line with Sunday estimates.

 

After two weeks at No. 1, "The Game Plan," slipped to No. 2 with $11.04 million. The purse for Disney's family-oriented sports tale is now a resounding $58.98 million.

 

The crime rookie "We Own the Night" ($10.83 million) edged ahead of the legal drama "Michael Clayton" ($10.37 million) to take the third spot overall. The Sunday estimates had given "Clayton" a slight lead over "Night." "Elizabeth: The Golden Age" began its reign at No. 6 with just $6.15 million.

 

Lionsgate's "Why Did I Get Married?" -- a romantic comedy-drama about the trials of marriage -- played almost exclusively to black moviegoers. Perry co-stars alongside an ensemble that includes singers Janet Jackson and Jill Scott.

 

Polling by independent firm CinemaScore showed women accounted for about three-quarters of the audience, and moviegoers applauded it with a grade of A-plus. Critics -- who did not get an advance peek -- were not as kind. About 55 percent of reviews on Rotten Tomatoes (http://www.rottentomatoes.com) were negative.

 

Critics were slightly more enthusiastic about Sony's "We Own the Night," which stars Joaquin Phoenix and Mark Wahlberg, and positively giddy about Warner Bros.' "Michael Clayton," starring George Clooney, which opened the week before in limited release.

 

"Night" drew more males than females (54%-46%), and picked up a B-minus from its CinemaScore sample. By contrast, "Clayton" drew slightly more females and scored a CinemaScore grade of B. "Clayton" also skewed older than "Night."

 

Universal's "Elizabeth: The Golden Age" also earned a B grade, with women accounting for almost two-thirds of the audience.

 

It entered the lists just below the second weekend of another disappointment, "The Heartbreak Kid," which took in $7.28 million. The tally for the DreamWorks/Paramount release stands at $25.86 million.

 

Reuters/Hollywood Reporter

[BobbyD 2]

(IMDB.COM)

 

B.O. Favorite 'Michael Clayton' Winds Up in Fourth Place

 

 

Michael Clayton, which had been the odds-on favorite among movie pundits to win the weekend box-office crown, not only didn't finish in first place -- it didn't even make third place, as studio estimates had initially indicated. Clayton, it turns out, earned $10.37 million, putting it slightly behind the crime drama We Own the Night, which took in $10.83 million. Equally surprising to some writers was that the film that did top the box office charts was the low-budget Why Did I Get Married, from writer-producer-director Tyler Perry. The film raked in $21.35 million, about twice the earnings of The Game Plan, which placed second with $11.04 million.

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'Why Did I Get Married' Brightens Drab Weekend

by Brandon Gray

October 15, 2007

 

Six pictures reached nationwide release over the weekend, and only the lightest one, Tyler Perry's Why Did I Get Married, had heft. Overall business continued to be affected by the preponderance of dull movies as weekend attendance was on the low end for the time of year.

 

Why Did I Get Married pulled in $21.4 million on approximately 2,600 screens at 2,011 theaters, marking another successful launch for the Tyler Perry brand and made more impressive by the fact that it didn't feature his popular fat-suited character Madea. The writer-director's previous Madea-free movie, Daddy's Little Girls, posted decent numbers but was well below the over $20 million debuts of his Madea pictures, Diary of a Mad Black Woman and Madea's Family Reunion. Why Did I Get Married appealed as something fun, warm and relatable in a market rife with somber and generic fare.

 

We Own the Night claimed $10.8 million on 2,700 screens at 2,362 theaters, which was middle-of-the-pack among major crime pictures. The movie's advertising mimicked The Departed, trying to capitalize on the resemblance in environment and presence of Mark Wahlberg, but its premise of two brothers on opposite sides of the law wasn't as dramatic or thrilling as Departed's dueling undercover agents.

 

In its wide expansion, the high profile Michael Clayton uncovered about half the business of the modestly promoted Tyler Perry. The thriller starring George Clooney logged a pallid $10.4 million on 2,800 screens at 2,511 theaters, which was lower than Clooney's previous thriller Syriana and significantly less attendance than past similar movies like A Civil Action, Runaway Jury and The Rainmaker. In its ad campaign, Clayton relied on Clooney's star power and the genre, but its plot, surrounding a vague corporate and legal conspiracy, was nondescript and Clooney's title character too dour to be engaging.

 

Elizabeth: The Golden Age was subjugated with $6.2 million at 2,001 locations, which was inferior to most comparable pictures, including The Messenger: The Story of Joan of Arc. The historical drama's marketing tried to dazzle with colorful imagery, but the picture didn't stand out among recent productions about England's queens. Its 1998 predecessor, Elizabeth, was a platform release, peaking at 624 theaters, and grossed $30.1 million by the end of its run, a total that The Golden Age is not likely to come close to.

 

Relative to what its limited run indicated, Across the Universe expanded well to $3.8 million at 954 sites, though, at $12.7 million in 31 days, the musical is no Moulin Rouge! Also opening wide, baseball movie The Final Season made $664,351 at 1,011 venues, which was the poorest start on record for a nationally-distributed sports movie.

 

The Game Plan scored the smallest drop among wide holdovers, down 34 percent to $11 million. With $59 million in 17 days, Disney's family comedy is now the biggest-grossing movie of the Fall season thus far and it's already star Dwayne "The Rock" Johnson's second-highest grossing picture, though it ranks 15th in the ever popular fish-out-of-water father sub-genre. Meanwhile, after its disappointing start last weekend, the negative-themed The Heartbreak Kid ached further. The raunchy comedy fell 48 percent to $7.3 million for a deficient $25.9 million in ten days.

 

In limited release, The Darjeeling Limited and Lust, Caution had significant expansions. Darjeeling notched $1.1 million at 95 sites, which was less potent than The Royal Tenenbaums and Rushmore at the same point among director Wes Anderson's movies. Lust, Caution bagged $609,623 at 77 locations. Among recent NC-17-rated pictures, that's a stronger weekend than Bad Education or The Dreamers ever had, but it's softer than the movies from the early days of the adult rating, like Henry & June and The Cook, The Thief, His Wife and Her Lover.

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Perry's success has black films in fashion

 

Tyler Perry's triumph at the box office with "Why Did I Get Married?" has heartened the growing number of studios looking to crack the market for black films.

 

But those studios also could face an unlikely problem: Tyler Perry.

 

The number of distributors and producers making movies that star and target blacks is climbing at an unprecedented clip. They're reversing a pattern of studio indifference that for years allowed smaller players like Lionsgate, which has seen a box office gross of about $145 million from the three previous Perry films it has distributed, to enjoy a windfall.

 

"There's probably not one new story to tell that hasn't been told about white people," said Screen Gems president Clint Culpepper. "But there are so many stories that haven't been told yet about people with brown and black faces."

 

Screen Gems, the Sony-owned mid-budget label, is opening two black-targeted comedies in the next three months: the holiday picture "This Christmas" and the Ice Cube vehicle "First Sunday."

 

For all the carping about how Hollywood doesn't give Perry respect -- though of course he often gets respect in articles about how he doesn't get respect -- it's also a fertile time for black movies.

 

At Our Stories Films, the Weinstein Co.'s co-venture with BET founder Robert Johnson, several projects are in development, while sister unit Dimension is prepping "Comeback," a sports comedy drama with Ice Cube.

 

Even specialty divisions are getting in on the act. Fox Searchlight may have had a disappointing result with Chris Rock's "I Think I Love My Wife," but it's still casting in New York for a potential Notorious B.I.G. biopic and is readying a sequel to the Cedric the Entertainer vehicle "Johnson Family Vacation."

 

The evidence of the growing clout of the black audience? A minority filmmaking summit last week, where bigwigs such as Warner Bros.' Barry Meyer and Peter Roth turned out to address filmmakers.

 

Of course, Hollywood has shown notable, if erratic, interest in black audiences in the past decade. Franchises including "Barbershop" and Ice Cube's "Friday" films delivered box office returns well higher than their budgets. But where those movies were limited to male comedies, the Perry renaissance has given hope for a future paved with everything from romantic dramas to art house fare.

 

"I think what we're going to start to see is black projects that in a way aren't really about race," said Intl. Creative management agent Andrea Nelson-Meigs. "People didn't go see 'My Big Fat Greek Wedding' because it was Greek. They went to see it because it was about how a family comes together."

 

And Perry's aura will continue to radiate to other films. "With every new success that Tyler has, I see two or three other projects that might not have been made before," said Keith Robinson, who's starring in "This Christmas."

 

But the Perry phenomenon also could create a set of issues -- the film industry's equivalent, perhaps, of the Notorious B.I.G.'s "Mo' money, mo' problems."

 

The success enjoyed by Perry has raised the box office bar. If Perry is regularly pulling down $20 million on opening weekends, investors and executives might be disappointed when black movies open smaller, especially as budgets for these movies begin to rise. This summer, Our Stories was forced to change its tune on debut release "Who's Your Caddy?" after the Don Michael Paul film earned just $6 million at the box office, saying the release was meant mainly to prime the pump for home video.

 

And for all the new ground Perry has blazed, he's still an anomaly who will be hard to replicate. He didn't spring up from whole cloth but spent years building his brand by working what's known as the Chitlin' Circuit -- a string of venues popularized during the country's segregation era as being welcoming for black entertainers -- taking his plays to small and midsize cities.

 

Marketers will attempt the tough feat of doing that again -- literally, in the case of "First Sunday," which sources say will be positioned as a Perry-esque release because it comes from David Talbert, another black playwright who has a built-in audience (and who once directed a play on the Chitlin' Circuit in which Perry starred).

 

And executives, while careful to emphasize that they want to produce more fare for black audiences, say that the business picture is more complicated than it would appear on the surface. Advantages like new audiences for lower-budget product are offset by certain disadvantages, like limited international potential. And the media also could tire of the Perry peg if it's used too much.

 

Supporters of the category, however, say Perry and company will continue to force more and more studio heads to take notice. "Every time Tyler Perry has a success, Hollywood acts all surprised," said Matt Alvarez, Ice Cube's production partner. "But they really shouldn't be surprised anymore."

 

Reuters/Hollywood Reporter

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Horror Fangfest '30 Days Of Night' #1;

Ben Affleck-Directed 'Baby' Opens 6th; New Line Flails With Yet Another Flop

 

SATURDAY AM: It's an R-rated film festival at the box office this weekend. But did moviegoers respond to the new crop of adult-themed pics, many of which have Oscar buzz? Well, mostly no. The exception was Sony's Halloween-timed 30 Days Of Night which turned Friday into fright night by opening with $6.2 million from 2,855 theaters. The something-evil-lurks-in-Alaska theme didn't have to resort to torture porn to scare, so moviegoers should reward it with a solid $15 million weekend.

 

But two R-rated newcomers really disappointed at the box office Friday. New Line's heavy-handed political thriller Rendition starring Reese Witherspoon and Jake Gyllenhaal flatlined into only 9th place, opening to $1.4 million from 2,362 runs. Its weekend take should be just $4.2 mil, showing again that message movies aren't resonating with audiences this year. Not even making it into the Top 10 was DreamWorks / Paramount's drug addiction drama Things We Lost In The Fire despite starring Oscar-winners Halle Berry and Benicio Del Toro. Good thing it cost only $16 mil and had a very modest ad campaign. In 15th place, the pic made just $500K Friday from a limited run of 1,142 venues with a lousy per screen average. "I think there were just too many R-rated dramas in the marketplace," a DreamWorks source told me today. "I think all suffered because of it."

 

Miramax's Gone Baby Gone fared better. Hollywood was especially curious to see how the R-rated crime drama directed by Ben Affleck would fare since he's had a tough time as an actor at the box office in recent years. But the film got great reviews, and audiences made it the #6 movie with $1.9 million Friday from 1,713 theaters. It should move up to #5 by the end of the weekend with a $5.7 mil take.

 

Little wonder that, with all these serious and even downer films at the megaplex, audiences wanted escapism. Lionsgate's PG-13 holdover Why Did I get Married from the fertile mind of Tyler Perry was down only 23%. It earned 2nd place with $3.3 million Friday in 2,034 venues. Its new cume is $30.1 mil and its weekend tally should be $10 mil. And the 3rd spot went to Disney's family fare The Game Plan which, even starting its 4th weekend in release, took in $2.4 million Friday from 3,301 dates. The Rock's new cume is $64.3 mil and its weekend total could be another $9.3 mil. Still another holdover, Warner's well reviewed Michael Clayton starring George Clooney hung in (only down -32%) for No. 4, making $2.2 mil Friday from 2,585 plays. But its cume is still a stillborn $17.1 mil. Fox Atomic's PG-13 sports spoof The Comebacks was the surprise 5th place movie, showing that audiences are starved for even a medocre comedy that'll play better on DVD. This inexpensive pic opened with $2.1 mil Friday from 2,812 runs and should have just a $5.7 mil weekend.

 

For the 7th spot, Disney re-release of Tim Burton's Nightmare Before Christmas in 3-D squeezed out another $1.8 million Friday from just 564 venues. But the studio also offered a sneak peek at the offbeat comedy Dan In Real Life with Steve Carell. In 8th place, Sony's Cannes $11 mil pickup of Mark Cuban's 2929 Productions' We Own The Night dropped 52% from its opening to eke out $1.8 mil Friday from 2,362 dates for a new cume of $16.1 mil. In 10th place, DreamWorks / Paramount's The Heartbreak Kid eked out another $1 mil Friday from 2,782 runs for a new cume of $24.4 mil starting its 3rd weekend in release.

 

As for other newcomers, Freestyle's Sarah Landon And The Paranormal Hour made $165K from 1,115 dates. And Rocky Mountain's The Ten Commandments earned $145K from 830 plays.

[BobbyD 2]

(IMDB.COM)

 

Tyler Perry Still Looking for Success Abroad

 

 

Tyler Perry, whose Why Did I Get Married? has grossed nearly $40 million over the past ten days, defying industry predictions, now intends to disprove the notion that movies with black-oriented themes can not do business abroad, the Los Angeles Times observed today (Monday). Charles King, Perry's agent at the William Morris Agency, told the newspaper that Perry plans to challenge the status quo. "In the past, the studios used to say that movies about blacks or starring blacks wouldn't play outside of the South," he said. "That was a battle that was fought and won." However, the Times observed, Lionsgate, which owns worldwide rights to Married has revealed no plan for an international release. For that reason, Perry's production company is putting together an international strategy for its next film, Meet the Browns, due to be released domestically early next year.

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Tyler Perry Plans 'Madea' Return

'Madea Goes to Jail' and 'The Family That Preys Together' will shoot next spring

November 15, 2007

 

After stepping away from his wildly popular Madea character for his past two films, Tyler Perry will drag up old memories for "Madea Goes to Jail."

 

Lionsgate announced Wednesday (Nov. 14) that the company has acquired the rights to Perry's next two films, bringing their number of cinematic collaborations to seven by the end of the deal.

 

Perry's latest, "Why Did I Get Married," was his third No. 1 film. The movie's $50-plus million gross is a nice bounce back for Perry after the relative disappointment of "Daddy's Little Girls" in the spring.

 

Lionsgate will release "Meet the Browns," co-starring Angela Bassett, on March 21 2008 and around the same time, Perry will begin production on "The Family That Preys Together" and then "Madea Goes to Jail."

 

"We're thoroughly in awe of Tyler Perry's talent, energy and integrity, and are very proud to call him a member of the Lionsgate family," says Lionsgate's President of Film Production Michael Paseornek. "'The Family that Preys Together' and 'Madea Goes to Jail' are going to deliver everything audiences have come to expect from a Tyler Perry production: humor, uplift, and unlimited heart and soul."

 

Perry will co-star in "The Family That Preys Together," from his own original screenplay, while "Madea Goes to Jail" will be taken from the popular play.

 

"An artist couldn't ask for a better home than Lionsgate; they're respectful, supportive and loyal to a fault," Perry says. "They've given me room to tell the stories I want to tell, the way I want to tell them. And I'm gratified and humbled that audiences have responded with such enthusiasm and love."

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Tyler Perry Joins 'Star Trek' Cast

'Madea' star joins the likes of Chris Pine, Winona Ryder and Zachary Quinto in J.J. Abrams' cast

 

Media behemoth Tyler Perry is the latest actor to join the cast of J.J. Abrams' "Star Trek" reboot, though not in his beloved Medea drag.

 

While The Hollywood Reporter says that Perry will "head the Starfleet Academy" in the franchise origin tale, it's unclear what specific character he'll be playing and if that character will literally be the dean/president/principal at Starfleet Academy or if that was just a turn of phrase of some sort.

 

Somewhat remarkably, Perry could now be the biggest name in the Paramount film, which began production in November.

 

Chris Pine and Zachary Quinto star as Young Captain Kirk and Young Spock, which other key Enterprise casting featuring Karl Urban as Young Bones, Zoe Saldana as Young Uhura, John Cho as Young Sulu, Simon Pegg as Young Scotty and Anton Yelchin as Young Chekov.

 

Recognizable actors in supporting roles include Eric Bana as the evil Nero, Winona Ryder as Spock's momma and Bruce Greenwood as original Enterprise captain Christopher Pike.

 

A wildly successfully playwright and performer, Perry finally earned the attention of the mainstream media with a string of hit films for Lionsgate, a list of low-budget winners including "Diary of a Mad Black Woman," "Madea's Family Reunion" and, most recently, "Why Did I Get Married." His next film is this spring's "Meet the Browns."

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'Debaters' dominates Image Awards

Perry, Keys also have big night at NAACP gala

By LIBBY MCCARTHY, DEREK PETERS

 

There was no debating which were the favored projects at the 39th NAACP Image Awards, where hyphenate Tyler Perry, musician Alicia Keys, and film "The Great Debaters" earned multiple kudos in an evening packed with over 50 awards.

 

"Debaters" -- which received eight initial film nods -- took home four wins, including actor (Denzel Washington), actress (Jurnee Smollett), supporting actor (Denzel Whitaker), and motion picture.

 

Focus' "Talk To Me" earned kudos for scribes Michael Genet and Rick Famuyiwa, as well as for helmer Kasi Lemmons.

 

In the television categories, Tyler Perry's "House of Pain" hauled home three awards for comedy series, as well as actor and supporting actor in a comedy series (LaVan Davis and Lance Gross, respectively).

 

Perry's other project of the year, film "Why Did I Get Married?", earned Janet Jackson a supporting actress kudo.

 

Funny females America Ferrera and Vanessa Williams from "Ugly Betty" prevailed in the actress and supporting actress television categories.

 

"I love to be part of this show because it's fun, but also because of what it stands for," Ferrara said. "It's done wonderful things for diversity in the television landscape."

 

The "Grey's Anatomy" team sliced through the competition with awards in best drama series, and supporting actress (Chandra Wilson). Writing kudos for the popular drama also went to scribes Shonda Rhimes and Krista Vernoff.

 

NAACP honored thesps in varying skeins in the drama categories, with "CSI: NY's" Hill Harper earning the actor kudo, "The Unit's" Regina Taylor in the corresponding actress category, and "House's" Omar Epps with the supporting actor award.

 

Musicians Alicia Keys and Chris Brown received recognition for female and male artist, respectively. Keys also picked up awards for album ("As I Am"), as well as song and music video ("Like You'll Never See Me Again").

 

Most recent "American Idol" winner Jordin Sparks commanded "Respect" with her performance of Aretha Franklin's classic song, before Franklin picked up the 2007 Vanguard Award. Sparks then received her own distinction, named as outstanding new artist.

 

Franklin, who attended the first Image Awards show in 1969, called the show "sophisticated, rousing fun that rivals with the best and is second to none."

 

Sidney Poitier paid tribute to Chairman's Award honoree Ruby Dee in the form of a pre-taped speech. Musician nominee Angelique Kidjo also performed a song in Dee's honor.

 

"I accept this award on behalf of all the members, past and present, that have been led by the light of the NAACP," Dee said.

 

Image Awards Hall of Fame Inductee Stevie Wonder performed three songs and took the opportunity to stump for both Hilary Clinton and Barack Obama.

 

And the winners are...

 

 

TELEVISION CATEGORIES

Outstanding Comedy Series

Tyler Perry's "House of Payne" (TBS)

 

Outstanding Actor in a Comedy Series

LaVan Davis -- "Tyler Perry's House of Payne" (TBS)

 

Outstanding Actress in a Comedy Series

America Ferrera -- "Ugly Betty" (ABC)

 

Outstanding Supporting Actor in a Comedy Series

Lance Gross -- "Tyler Perry's House of Payne" (TBS)

 

Outstanding Supporting Actress in a Comedy Series

Vanessa L. Williams -- "Ugly Betty" (ABC)

 

Outstanding Drama Series

"Grey's Anatomy" (ABC)

 

Outstanding Actor in a Drama Series

Hill Harper -- "CSI: NY" (CBS)

 

Outstanding Actress in a Drama Series

Regina Taylor -- "The Unit" (CBS)

 

Outstanding Supporting Actor in a Drama Series

Omar Epps -- "House" (FOX)

 

Outstanding Supporting Actress in a Drama Series

Chandra Wilson -- "Grey's Anatomy" (ABC)

 

Outstanding Television Movie, Mini-Series or Dramatic Special

"Life Support" (HBO)

 

Outstanding Actor in a Television Movie, Mini-Series or Dramatic Special

Wendell Pierce -- "Life Support" (HBO)

 

Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special

Queen Latifah -- "Life Support" (HBO)

 

Outstanding Actor in a Daytime Drama Series

Kristoff St. John -- "The Young And The Restless" (CBS)

 

Outstanding Actress in a Daytime Drama Series

Christel Khalil -- "The Young And The Restless" (CBS)

 

Outstanding News/Information -- (Series or Special)

"In Conversation: The Senator Barack Obama Interview" (TVOne)

 

Outstanding Talk -- (Series)

"Tavis Smiley 'Crisis in Darfur'" (PBS)

 

Outstanding Reality -- (Series)

"Run's House 4" (MTV)

 

Outstanding Variety -- (Series or Special)

"Celebration of Gospel '07" (BET)

 

Outstanding Children's Program

"That's So Raven" (Disney Channel)

 

Outstanding Performance in a Youth/Children's Program -Series or Special

Raven-Symoné -- "That's So Raven" (Disney Channel)

 

RECORDING CATEGORIES

Outstanding New Artist

Jordin Sparks (Jive/Zomba)

 

Outstanding Male Artist

Chris Brown (Jive)

 

Outstanding Female Artist

Alicia Keys (J Records)

 

Outstanding Duo or Group

Eddie & Gerald Levert (Atlantic)

 

Outstanding Jazz Artist

Herbie Hancock (Verve)

 

Outstanding Gospel Artist -- (Traditional or Contemporary)

Kirk Franklin (Gospocentric)

 

Outstanding World Music Album

Angelique Kidjo -- "Djin Djin" (Razor & Tie)

 

Outstanding Music Video

"Like You'll Never See Me Again" -- Alicia Keys (J Records)

 

Outstanding Song

"Like You'll Never See Me Again" -- Alicia Keys (J Records)

 

Outstanding Album

Alicia Keys -- "As I Am" (J Records)

 

LITERATURE CATEGORIES

Outstanding Literary Work -- Fiction

"Blonde Faith" -- Walter Mosley (Little, Brown & Company)

 

Outstanding Literary Work -- Non-Fiction

"Not on Our Watch: The Mission to End Genocide in Darfur and Beyond" -- Don Cheadle, John Prendergast (Hyperion)

 

Outstanding Literary Work -- Debut Author

"The Women Who Raised Me: A Memoir" -- Victoria Rowell (Harper Collins)

 

Outstanding Literary Work -- Biography/Auto-Biography

"Obama: From Promise to Power" -- David Mendell (Harper Collins/Amistad)

 

Outstanding Literary Work -- Instructional

"The Covenant in Action" -- Tavis Smiley (Smiley Books)

 

Outstanding Literary Work -- Poetry

"Acolytes: Poems" -- Nikki Giovanni (Harper Collins/William Morrow)

 

Outstanding Literary Work -- Children

"Nothing but Trouble: The Story of Althea Gibson" -- Sue Stauffacher,Author; Greg Couch, Illustrator (Random House)

 

Outstanding Literary Work -- Youth/Teens

"More Than Entertainers: An Inspirational Black Career Guide" -- Charles B. Schooler, Author; Gary Young, Illustrator (Zenith Publishing)

 

MOTION PICTURE CATEGORIES

Outstanding Actor in a Motion Picture

Denzel Washington -- "The Great Debaters" (The Weinstein Co.)

 

Outstanding Actress in a Motion Picture

Jurnee Smollett -- "The Great Debaters" (The Weinstein Co.)

 

Outstanding Supporting Actor in a Motion Picture

Denzel Whitaker -- "The Great Debaters" (The Weinstein Co.)

 

Outstanding Supporting Actress in a Motion Picture

Janet Jackson -- "Tyler Perry's Why Did I Get Married?" (Lionsgate Films)

 

Outstanding Motion Picture

"The Great Debaters" (The Weinstein Co.)

 

Outstanding Independent or Foreign Film

"Honeydripper" (Emerging Pictures)

 

Outstanding Documentary

"Darfur Now" (Warner Independent Pictures)

 

WRITING CATEGORIES

Outstanding Writing in a Comedy Series

Ali LeRoi -- "Everybody Hates Chris: Everybody Hates Guidance Counselor" (CW)

 

Outstanding Writing in a Dramatic Series

Shonda Rhimes and Krista Vernoff -- "Grey's Anatomy: A Change is Gonna Come" (ABC)

 

Outstanding Writing in a Motion Picture (Theatrical or Television)

Michael Genet and Rick Famuyiwa -- "Talk To Me" (Focus Features)

 

DIRECTING CATEGORIES

Outstanding Directing in a Comedy Series

Ken Whittingham -- "The Office: Phyllis's Wedding" (NBC)

 

Outstanding Directing in a Dramatic Series

Seith Mann -- "Friday Night Lights: Are You Ready For Friday Night?" (NBC)

 

Outstanding Directing in a Motion Picture (Theatrical or Television)

Kasi Lemmons -- "Talk To Me" (Focus Features)

 

ALSO:

Image Awards Hall of Fame Inductee: Stevie Wonder

Vanguard Award: Aretha Franklin

Chariman's Award: Ruby Dee

[BobbyD 2]

Tyler Perry's Madea Gets Animated

Character will be subject of cartoon series

February 19, 2008

 

 

Tyler Perry is expanding his mini-media empire into the world of animation.

 

Perry, the writer-director-star of "Madea's Family Reunion" and "Why Did I Get Married" and creator of the TBS sitcom "House of Payne," is set to make his character Madea the center of an animated series. As with "House of Payne," the show will produce a number of episodes before seeking distribution via TV or video, the showbiz trades report.

 

The idea, Perry says, is to take Madea -- the imposing, truth-speaking woman played by Perry in drag -- from Perry's more adult-themed plays and films and make her more appealing to younger viewers.

 

"A lot of the plays were not kid-friendly. I wanted to do something more appropriate [for children], and this seems to be it," he says. A 'Madea' animation looks like the best way."

 

Perry will write and executive produce the animated "Madea" with Jerome Williams, Max Howard and John Eraklis of Exodus. He'll also provide the character's voice.

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Angela Bassett is not too picky for Tyler Perry

‘I’m looking for opportunity and I’m looking for experience,’ says the star

 

By Miki Turner

Entertainment writer

MSNBC contributor

 

LOS ANGELES - Dressed in a form-fitting black pencil skirt with an off-white silk sleeveless blouse, Angela Bassett, star of Tyler Perry’s “Meet the Browns” still looked fresh and fetching even after a full day of interviews.

 

If she was at all weary it never showed. The ensuing conversation about her new film that hits theaters on Friday, her career moves, upcoming projects, her kids and approaching 50, was all light and lovely — even when we had some slight issues with semantics regarding the way she goes about her work.

 

Some folks might call her picky but Bassett, who is an undercover comedienne, was slightly taken aback by that notion.

 

“Really? Do I come off that way?” she said with a hearty laugh. After a little discussion it was determined that perhaps she had just been more “selective” in the past.

 

“Hey, there you go,” she said. “That is a better word.”

 

Regardless of the wording, the truth is that Bassett, best known for her Oscar-nominated turn as Tina Turner in “What’s Love Got to do With It”; as the cradle robber in “How Stella Got Her Groove Back” and as the scorned wife in “Waiting to Exhale,” has had to be less selective because she knows what time it is. When you’re an aging African-American actress working in a town that’s ready to wrap your still warm remains in yesterday’s newspaper, you can no longer afford to wait on those roles that will have critics comparing you to the last great thing.

 

“In the beginning I didn’t want to do the wrong thing and you want to get a little further up,” she said. “But then you start to think about how many more years of opportunity do I have, especially in this country. We’re not Paris or somewhere that reveres the wise and mature woman (laughs). Yeah, I’ll come over and do that with you. Just tell me that I’m wonderful!”

 

Saying ‘yes’ to Tyler Perry

That’s exactly what Tyler Perry did when he first met Bassett backstage at the L.A. production of “Madea Goes to Jail.” “I told her she was the most wonderful actress out there and that I had to work with her. I just had to. I cannot tell you how happy I was when she said yes. It was like having been rescued by Noah and his Ark in the midst of the storm.”

 

Although Perry’s films have been financial goldmines, they haven’t been very well received by the critics. Bassett knew this going in but agreed to play Brenda, a struggling single mother with three kids who recently lost her job, anyway. Considering that Bassett is a Yale-trained thespian who has rarely appeared in low-budget, critically panned movies, one has to wonder why she might consider doing a Perry movie at this juncture in her career. Perhaps she noticed that Perry has been providing opportunities for several other aging African-American actresses including: 1972 Oscar nominee Cicely Tyson, Lynn Whitfield and Irma P. Hall.

 

You don’t have to be a Yalie to realize that it pays to be in a Perry film.

 

“He said before I signed on that it’s going to get panned,” Bassett said with a laugh. “I’m looking for opportunity and I’m looking for experience. C’mon let me have this experience. If there’s some value that I see or if I have the opportunity I’m going to bring the best that I have and I can to the moment and see how I can add to it.”

 

One of the things Bassett found most appealing about working with Perry is the respect he has for African-American women. He paints them in full tapestry and let’s them roll.

 

“Those women in his films and plays get to chew up scenery, I always like that,” Bassett said. “Black women get to chew up scenery and then have someone tell her she’s beautiful and fabulous and phenomenal and worth everything! I was like shoot, why didn’t I hear about that? So, it was great to hear he was doing some more — that wasn’t the first and the last.

 

“So when it came to (‘Browns’), I was willing, ready and able.”

 

Juggling work and twins

In “Browns,” Bassett’s Brenda is a vintage Perry victim. She’s so mentally battered, bruised and burned that she can’t recognize a good thing even when it’s slapping her in the face in the form of Harry (Rick Fox), a high school basketball coach who takes a special interest in Brenda’s son Michael (Lance Gross) and Michael’s mama. Will Harry break through the veneer? Well, if you’ve ever seen a Tyler Perry movie or play you already know the answer to that.

 

Even in her nonfiction world, it’s tough for Bassett to keep it all together these days. She and her husband, actor Courtney B. Vance, are the parents of two-year-old twins Slater and Bronwyn. Bassett said the hardest part about mothering twins is that they want “your time and attention simultaneously.”

 

“They’re like, ‘Pick me up,’” she said while moving her hands in a sweeping motion. “Well, you have enough strength to pick one up, but two? Getting them to understand a little patience. They want your attention. They own everything. They’ll take your glasses off your head and say ‘my glasses.’ Everything belongs to them, quiet as it’s kept. And I guess it does in a way.”

 

Fortunately Bassett and Vance have a pair of nannies and grannies to help them out — especially when they’re working. Bassett has three other films scheduled for release this year — “Nothing But the Truth,” “Of Boys and Men” and “Gospel Hill.” She was a little vague when asked if she were happy about her current workload.

 

“It’s alright, it’s good, it works out well,” she said. “I did like four films this year but still you’re like, I could have done like three more (laughs). It’s never enough. Maybe if you’re some somebody you can say woo, woo, it’s more than I’ve got days for in a year. I’d like to do more — different types of things like maybe an animated film or guest starring on whatever or maybe a documentary or maybe a little independent.”

 

War movie? No women need apply

In today’s Hollywood Bassett’s age and gender work in tandem to limit her opportunities, perhaps more so than the color of her skin. And it doesn’t help that Bassett can’t pick up a semi-automatic weapon to fight this ongoing battle on screen or with studio heads.

 

“I just get sick every time it’s a war movie,” Bassett said while rolling her eyes. “Just ugh! You all just love G.I. Joes, ugh! I just get nervous in my stomach thinking about it. Here’s the scene, you get to go home and the guy is all broken up and then there’s his wife and little children who have been there waiting. But usually women aren’t too involved, so it’s bad all around.”

 

Other than the preponderance of pesky war movies curtailing her work options, Bassett really has no complaints about her life or career. She’ll be 50 in August and looks 30. She loves the fact that she feels free to be who and what she is. “You’re a little more confident about what you know because you’ve lived it,” she says. She’s also thankful that the business has been as good to her as she’s been for it.

 

Bassett has been one of the actresses who has set the bar high. She’s made her imprint and has already gotten the opportunity to see its impact on the industry.

 

“Oh, I think I’ve been great for Hollywood,” Bassett said wistfully. “Hollywood’s been good for me. Dreams have come true and I’ve met and worked with the most amazing people and outstanding talent that have inspired me. I’ve brought my talent and my love for the craft every day to the set and to the characters that I’ve been blessed to be able to portray. To have them resonate with the public and across time has been a blessing — that people recognize it and remember it.

 

“People have been kind.”

 

Miki Turner is currently co-executive producing a documentary on girls and gangs with actor/director Bill Duke. She can be reached at mikiturner.msnbc@gmail.com.

 

© 2008 MSNBC Interactive

[BobbyD 2]

Turner pre-buys Perry's 'Browns'

Lionsgate deal includes 'Witless,' 'Lord,' 'Mix'

By JOHN DEMPSEY

 

Tyler Perry's 'Meet the Browns,' with Angela Bassett, becomes available to Turner in August 2010.

 

TBS's love affair with Tyler Perry continues to smolder, ignited by its deal with Lionsgate to pre-buy Perry's "Meet the Browns," which opens in theaters Friday.

 

"Browns," a comedy/drama starring Perry (in a dual role) and Angela Bassett, is the key title in a four-picture transaction between Turner Broadcasting's TBS/TNT and Lionsgate valued at between $8 million and $10 million, depending on how well "Browns" does at the box office. The three other titles are "Witless Protection," starring Larry the Cable Guy; "Lord of War," with Nicolas Cage; and "In the Mix," starring Usher.

 

"Turner is keeping up with the Tyler Perry franchise and the Larry the Cable Guy franchise in this deal," said Rand Stoll, executive VP of television for Lionsgate.

 

Stoll is referring to TBS' purchase of four previous Perry theatricals: "Why Did I Get Married?," "Daddy's Little Girls," "Madea's Family Reunion" and "Diary of a Mad Black Woman." TBS also bought the two earlier Cable Guy vehicles, "Delta Farce" and "Health Inspector."

 

TBS has also scored solidly in the ratings with the weekly firstrun sitcom "House of Payne," produced by Perry, a Wednesday-night staple of the network since last summer.

 

One advantage of the new deal for Turner is that it will be able to start playing "Lord of War" and "In the Mix" this spring. "Witless Protection" becomes available in July 2010, "Browns" in August 2010.

 

Before the movies end up on TBS and TNT, they'll get an exclusive 18-month pay TV window on Showtime, which has an output deal with Lionsgate.

 

As is usual in movie deals, Turner has given Lionsgate the right to carve out a window in the four-year contract for sale of one or more of the four titles to another ad-supported cable network.

[BobbyD 2]

Mariah Carey and Nick Cannon Hit the Town

By Liz McNeil

 

Mariah Carey and her new husband, Nick Cannon, made their first public appearance Thursday night, hitting the Big Apple for Time magazine's "100 Most Influential People in the World" gala.

 

Carey, wearing a silver minidress, sang at the party, held at New York City's Lincoln Center. Afterwards, she slipped into a strapless black dress accessorized with her 17-carat wedding ring to hit hotspot The Waverly Inn. Her new tattoo ("Mrs. Cannon" on the small of her back), however, was well hidden.

 

Approached at the gala, friend of the couple's director Tyler Perry, joked he had "a major issue with [Mariah]." "You know I want to take you out and you don’t tell me you’re getting married?," he said to PEOPLE. "What's that about!" All kidding aside, he added she's an "amazing person. I am really happy for her."

 

Carey and Cannon surprised friends and family April 30 with a Caribbean wedding, and honeymooned in the Bahamas after.

 

Could children be next? "Her baby will be in Gucci, Chanel and diamonds from birth," says Perry. "Just know that."

 

•Reporting by JEFFREY SLONIM

[BobbyD 2]

Tyler Perry settles with WGA West

Mogul, writers resolve TBS contract quarrel

By CYNTHIA LITTLETON

 

Tyler Perry has come to terms with the Writers Guild of America West on a contract covering scribes on his TBS comedy skeins "House of Payne" and "Meet the Browns."

 

Deal, announced Wednesday, came after five months of negotiations. The WGA West played hardball with the indie mogul in October, sending pickets to the opening of Perry's new studio facility in Atlanta.

 

The guild also accused Perry of firing four scribes around the same time because they were pushing for WGA coverage. Perry denied the charge, saying the four were let go because he was unhappy with the quality of their work on "Payne" and the upcoming spinoff "Browns"

 

WGA acknowledged in announced the pact that it does not involve the reinstatement of the four scribes, three of whom were WGA members.

 

At the time the WGA went public with its fight against Perry, the guild said Perry and his biz reps were resisting the WGA's contract terms. Perry's reps countered that the talks has snagged on a narrow issue of residual payments to writers if the shows' reruns were to air on broadcast TV. ("House of Payne" has aired in both first-run syndication and on TBS.)

 

Vic Bulluck, exec director of the NAACP's Hollywood bureau, was credited by the guild and Perry as being "instrumental" in helping the sides bridge the gap after the October skirmishes. Attorney Matt Johnson, of Ziffren Brittenham, handled the negotiations for Tyler Perry Studios.

 

Perry and WGA West prexy Patric Verrone emphasized the unique role that Perry plays in the biz as a prominent African-American multihyphenate and one of the few truly indie producers. Perry finances and owns both TBS series outright.

 

"With a continued focus on fostering young, diverse talent, we are eager to continue our dialogue with the WGA to dramatically increase the number of minority writers working in Hollywood today," Perry said in a statement.

 

Verrone cited Perry's impressive track record in film and TV "at a time when true independent producers like Mr. Perry are rare in this business."

 

Perry noted the WGA deal comes after he has already completed deals with SAG, DGA, Teamsters and IATSE. Perry, who writes and directs his feature films, is a member of SAG and DGA but not WGA.

[ElleDriver 0]

Woman sues Tyler Perry for copyright infringement

 

MARSHALL, Texas – Tyler Perry went to court to face allegations that he stole material from someone else for his blockbuster film "Diary of a Mad Black Woman."

 

Donna West is suing the actor-screenwriter for copyright infringement in U.S. District Court and wants a jury to award her family all profits made from the film.

 

"I can't put my play on because the stories are basically the same and nobody wants to see that again," she said.

 

West testified Tuesday that she developed a script titled "Fantasy of a Black Woman" based primarily on her own experiences. With her in the starring role, the play was performed in July 1991 at the Junior Black Academy of Arts and Letters at the Dallas Convention Center.

 

"The play was opened to the public. Anyone could have attended," West said.

 

Perry's movie, which earned some $50 million, came out in 2005. Jurors on Tuesday watched the film and listened to a reading of the script from West's play.

 

In her opening remarks to the jury, Perry's attorney, Veronica Lewis, said her client is an "immensely talented" individual "who has no need whatsoever" to use the materials of others.

 

Lewis noted that Perry had experienced considerable success before and after the film, "so why would he need to copy Ms. West's script?"

 

Testimony was expected to resume Wednesday. U.S. District Judge Leonard Davis told jurors he anticipates the case will be completed by next Tuesday.

[BobbyD 2]

Perry reaches box-office milestone with ‘Madea’

New release is highest grossing film ever for actor-director-producer, studio

msnbc.com

 

updated 36 minutes ago

NEW YORK - Tyler Perry’s “Madea Goes to Jail” reigned at the weekend box office, opening with $41.1 million, according to studio estimates Sunday.

 

It was the highest grossing film ever for both Perry and the film’s studio, Lionsgate. Since Perry’s 2005 “Diary of a Mad Black Woman” — his highest previous debut with $30 million — the actor-director-producer’s films have frequently opened strongly, while generating little mainstream buzz.

 

Perry’s box office clout has lessened recently, but the success of “Madea Goes to Jail” reinforces the notion that Perry draws the largest audience when he dons a frumpy dress as his trademark grandmother character, Madea.

 

Steve Rothenberg, president of distribution at Lionsgate said the debut of “Madea” was the studio’s best opening in its 14-year history. The studio’s previous top opening was the $33.6 million debut of 2006’s “Saw III.”

 

“You could argue that Madea is now the top female box office star in Hollywood,” said Rothenberg, whose studio has distributed all seven of Perry’s films, several of which were released straight to DVD. “The character is one of the great screen creations of the last decade.”

 

Paul Dergarabedian, president of box office tracker Media By Numbers, said Perry has “tapped into something here that is irresistible to moviegoers ... Madea may have gone to jail, but Tyler Perry is going to the bank.”

 

Box office results

Estimated ticket sales for Feb. 20-22

1. “Tyler Perry’s Madea Goes to Jail,” $41.1 million.

2. “Taken,” $11.4 million.

3. “Coraline,” $11 million.

4. “He’s Just Not That Into You,” $8.5 million.

5. “Slumdog Millionaire,” $8.1 million.

6. “Friday the 13th,” $7.8 million.

7. “Confessions of a Shopaholic,” $7 million.

8. “Paul Blart: Mall Cop,” $7 million.

9. “Fired Up,” $6 million.

10. “The International,” $4.5 million.

 

Landing second was 20th Century Fox’s revenge thriller “Taken,” which earned $11.4 million in its fourth weekend of release, bringing its cumulative total to $95.2 million.

 

“Madea” was one of only two new releases. The other, Sony’s cheerleader comedy “Fired Up,” took in $6 million

 

Last weekend’s top earner — “Friday the 13th,” released under the Warner Bros. banner New Line Cinema — saw a steep drop in ticket sales, as is common for horror movies in weeks following their initial releases. After earning $43.6 million last weekend, it took in $7.8 million in its second.

 

The Academy Award nominees for best picture largely saw an increase in sales as moviegoers took to theaters for their last chance to see the nominees before the awards ceremony Sunday night.

 

Fox Searchlight’s “Slumdog Millionaire,” which added 610 theaters from its previous week, took in $8 million, bringing its total to $98 million.

 

The Weinstein Company’s “The Reader” earned $2.8 million for a cumulative of $23.2 million. Paramount’s “The Curious Case of Benjamin Button” took in $1.3 million for its best pic nominee-leading gross of $124.2 million. Focus Features’ “Milk” added $1.1 million for a $28.2 million total. And Universal’s “Frost/Nixon” earned $678,000 for a total of $17.4 million.

 

“Benjamin Button” was the only best picture nominee not to see an increase over the previous weekend. The bumps for “Milk,” “The Reader” and “Frost/Nixon” were relatively slight for best picture nominees, though not unforeseen.

 

“They were never destined to be huge box office hits,” said Dergarabedian.

 

Even if the Oscar bump wasn’t as pronounced this year, the overall box office performance for 2009 continues to be exceptional. Movies such as “Gran Torino,” “Paul Blart: Mall Cop” and now “Madea Goes to Jail” have performed better than expected.

 

When the economy slows down, moviegoing typically ramps up — and in the current recession that old axiom is again proving true. The total gross of the weekend’s top 12 films was $119.8 million, an increase of 33 percent over the same weekend last year, according to Media by Numbers.

 

“This is the strongest box office start to the year that I’ve ever seen,” said Dergarabedian. “This is the recessionary effect, funneling people that otherwise might be doing other things straight to movie theaters.”

 

© 2009 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

[sanlee 49]

Moviemaker Tyler Perry has given Jennifer Hudson a boost as she attempts to bounce back from family tragedy-he has written a film around her.

 

 

Source: Panachereport.com

[BobbyD 2]

Tyler Perry Treats 65 Swimming Pool Excluded Kids To Disney World

Huffpost - | 07/21/09 05:48 AM |

 

PHILADELPHIA — Tyler Perry is paying for 65 children from a Philadelphia day camp to go to Walt Disney World after reading about allegations that a suburban swim club had shunned them because of racism.

 

The black and Hispanic children who attend the day camp run by Creative Steps Inc. cheered Monday when they learned about the actor's gift.

 

Creative Steps director Alethea Wright says she's thrilled about the offer, especially because Perry "comes from humble beginnings" like the children in her camp.

 

The Valley Club in Huntingdon Valley has maintained that refunding the camp's swimming fee was not about race but rather a safety issue, in part because many children couldn't swim.

 

Perry is best known for his signature character Madea, a big-hearted but foul-tempered grandmother.

[kappy22 1]

Good for you, Tyler!

[BobbyD 2]

Tyler Perry reveals brutal abuse as a child

Filmmaker says he was beaten, molested and bathed in ammonia

PEOPLE.com

 

updated 1 hour, 48 minutes ago

There's nothing funny about Tyler Perry's latest work: a revealing account of the horrific abuse he suffered as a child.

 

"I always thought I would die before I grew up," the comedian writes in an uncharacteristically somber letter to fans on his Web site.

 

After watching a screening of the lauded movie "Precious," which he executive produced with Oprah Winfrey, about a 16-year-old girl who is physically and emotionally abused, the New Orleans native, 40, best known for his comic Madea character, reveals a flood of memories came back, and that "a large part of my childhood had just played out before my eyes."

 

Beginning with his mother's failed attempt to leave his abusive father, Perry recounts a horrific list of beatings and hardships he suffered.

 

"My father came home, mad at the world," he writes. "He was drunk, as he was most of the time. He got the vacuum cleaner extension cord and trapped me in a room and beat me until the skin was coming off my back."

 

Perry goes on to relate accounts of being seduced by a friend's mother at age 10, to being molested by another friend's father, to finding out that his own father was molesting a friend. And he tells of how his grandmother made a bizarre attempt to rid him of his allergies.

 

"She said she was going to kill these germs on me once and for all," he says. "She gave me a bath in ammonia."

 

But seeing "Precious," he said, helped him realize once again that he had survived it all.

 

"It hit me so hard, I sat there in tears realizing that somehow, by the grace of God, I made it through," writes Perry. "My tears were tears of joy, being thankful that I made it."

 

And the most important lesson of all? Learning to forgive, he says.

 

"I know that there are a lot of people out there with stories far worse than mine but you, too, can make it. To those of you who have, welcome to life. I celebrate you," he said. "We're all PRECIOUS in His sight."

 

© 2009 MSNBC Interactive

[sanlee 49]

Tyler Perry Sued Over a Song About The Devil

 

Tyler Perry is facing one hell of a lawsuit -- dude's accused of using a Gospel song on his show "Meet the Browns" without forking over any green to the guy behind the music.

 

It's all over a 2009 episode of the show, in which several characters sang the words, "The Devil thought he had me ... but I got away."

 

According to a new lawsuit filed Wednesday in federal court in Los Angeles, a songwriter named Johnny Tyrone Stringfield claims those lyrics came from his song, "I Got Away" -- a song which he copyrighted back in 2008.

 

Now, Stringfield claims Perry -- and the companies behind the show -- owe him more than $100,000 to make things right.

 

Calls to Perry's people have not been returned.

 

Source TMZ

[Freckles 79]

He was on Oprah this week, talking about the abuse he suffered as a kid. Poor thing - was sexually abused by 3 men and 1 woman as a child. And his dad was a brutal, brutal, brutal ass.

 

Makes me wonder if theres a blind vice about Tyler. Wouldn't be surprised if someone who'd suffered so much could be into some kinky sexual stuff...