Extended trailer for Guy Around The Ledge

A completely new and extended trailer remains released for Mike Worthington's new thriller Guy Around The Ledge, in which the Aussie actor plays a wrongly-jailed former cop searching to apparent his title and acquire him some revenge, all-in-one fell swoop.The completely new footage supplies a much clearer outline in the film's twisty-turny narrative, while using motivations behind Worthington's mock suicide bid revealed in greater detail.Simultaneously, there's a bit more footage in the ludicrously sexy Genesis Rodriguez in the catsuit (after which it her pants), additionally to coppers Elizabeth Banks, Edward Burns and Titus Welliver.Take a look within the new trailer below... That footage should offer you a concept in the film's far-fetched MO, finding becoming an entertaining if highly implausible mix between Phone Booth and Ocean's Eleven. The less mentioned about Worthington's accent, however, the higher.Man Around The Ledge is directed by Asgar Leth and may open in Uk cinemas on 3 February 2012.

Cinemax to air 'Raymond' doc

Cinemax has acquired privileges to Phil Rosenthal's "Conveying Raymond" and can premiere the feature documentary February. 16. "Conveying" stories the efforts of Rosenthal to evolve the hit sitcom he produced, "Everyone Loves Raymond" (starring Ray Romano) for any Russian TV audience in '09, compelling Rosenthal to call themself "the Mission Impossible of Jewish television authors." The project won audience honours in the Austin Film Festival and also at Edinburgh. Rosenthal authored and directed "Conveying," that was professional created by John Woldenberg. "Conveying" made slightly below $100,000 in a 3 week period of release this past year. Contact Jon Weisman at jon.weisman@variety.com

Hollywood's design credit dilemma

The Adventures of Tintin was launched with no credited production designer. A heated dispute inside the Art Company directors Guild on the credit on "The Adventures of Tintin" has uncovered a lengthy-being applied debate within the title of production designer versus. art director whilst raising questions regarding the altering role such artists play inside a filmmaking process making ever greater utilization of digital tools.Reservations and SigningsOn Jan. 3, when ADG launched its nominees for excellence being produced design this year, it recognized a person for every film, Television show and commercial out there -- aside from "Tintin," among the five nominees for fantasy film and today a Golden Globe champion. For that Steven Spielberg movie the possibility honoree was designated as TBA because no production designer was around the film's credits. "I was searching for who had been responsible but could not have that info," stated ADG prexy Tom Walsh.Following queries, the producers -- who include Spielberg, Healing For Peter Jackson and Kathleen Kennedy -- selected Kim Sinclair, known to within the production notes as visual effects art director, because the person most accountable for the feel of the film. Consequently, Sinclair may be the only art director about this year's ADG's noms list another 44 nominees are production designers.At problem here's that the guild that in title is created of art company directors presents honours to the people for "production design," as the Academy frequently gives honours for "best achievement in art direction" to individuals same people."It's confusing towards the industry and also the audience the Academy still selects to award best art direction towards the production designer, also it undermines the director and also the producer once the production is not obvious around the roles," stated Alex McDowell, production designer around the approaching "Guy of Steel."The quandary has historic roots. In film's early years, art company directors developed a pic's beauty. Then, on "Gone using the Wind," David O. Selznick decided to give his art director, William Cameron Menzies, the greater all-encompassing title of production designer. Today, production designers would be the acknowledged department heads to whom art company directors, set designers yet others report.The producers' designation of Sinclair rankled some guild people because "ADG takes the vista that each film must have a production designer," stated an individual near to the guild.McDowell added that animated films and individuals produced via performance capture ("Tintin" falls both in groups) should in addition have a production designer. "The development designer's primary role doesn't change due to the methodology from the film," he stated. "Animation and vfx films have the same conditions as with-camera films they are according to real physics, every surface must be designed and defined plus they require conditions and figures that should be defined and designed."McDowell isn't alone. "I can not imagine making an animated film without somebody inside a production designer role," stated Yarrow Cheyney, who had the loan of production designer around the animated "Wretched Me." "If they are fulfilling the role, their credit should reflect that."Some production designers think their guild must do more to explain the roles of their people. "Possibly if ADG were completely obvious in the categorization from the art department and it is hierarchy, our union could be known as the development Designers Guild," stated Scott Chambliss, production designer on "Cowboys and Aliens," who also got an ADG nom within the fantasy film category. "Then your guild could be a smaller amount prone to find itself within the baldly embarrassing position of their membership nominating a movie for excellence being produced design which had no formally designated production designer."This type of move, added Chambliss, could spur the Academy to finish the concept of "giving an award for the best art direction to some production designer along with a set decorator, although not for an art director."For "Tintin," the trio that done its design -- vfx art director Sinclair and art company directors Andrew Johnson and Shaun Wisniewski -- formerly worked with on "Avatar" and imported most of the digital tools from Jim Cameron's opus to Spielberg's work. Many production designers believe that additionally to upgrading its terminology, ADG must still educate its people on new technology because production design has become frequently a part of an elaborate procedure that includes previsualization and vfx, and also the disciplines can not be separated from one another."The moral of the story is the fact that these hybrid films reinvent the roles," Walsh stated. "This season we released a movie for first ballot with TBD as designer. I guarantee we will not go lower that path again."Elevation Talent Agency signed editor Matt Garner ("Butter"), line producer Susan Leber ("Margin Call") and makeup artist Emily Ansel ("Keep your Lights On"). Contact Peter Caranicas at peter.caranicas@variety.com

Shed Media encourages five

ShanfieldSurovellSmithShed Media has upped Ted Cruz, former professional producer at Mark Burnett Productions, to v.p. of development, along with four other promotions within the "Real Regular folks of NY City" shingle.Jessica Surovell, that's been in the organization since 2008, is becoming director of development, up from manager Matt Shanfield, furthermore a Mark Burnett alum, remains promoted to director of development too.Arial Brozell and Emily Moffet are moving for an advaced status to manager of development and fasten producer, correspondingly. The pair are actually with Shed since 2009 as development assistants. Cruz remains in the organization since 2010. Contact Mike Thielman at mike.thielman@variety.com

Powell animated by quartet of pix

'Rio''Happy Feet 2'The film, which inspired the popular Angry Birds spinoff videogame app (also named "Rio"), "was a love letter to (Saldanha's) hometown," says Powell, who earned an Oscar nom last year for his soaring "How to Train Your Dragon" score.In preparation, Powell visited Rio and was given the grand tour by Saldanha, spending three days visiting locations that would appear in the film, and soaking up local sounds and flavors. "Carlos really wanted the sound of the film to feel representative of Rio," says Powell. "He wanted the flavors and smells and the charm."John Powell, arguably Hollywood's king of animation soundtracks, experienced a busy 2011, scoring no fewer than four blockbuster animated features, among them Fox's "Rio," an avian caper directed by Brazilian helmer Carlos Saldanha.The result is a soundtrack nothing short of carnivalesque, bold and colorful as its feathered characters, and featuring guest appearances by some of the biggest names in Brazilian pop and bossa nova. A main flying sequence features iconic song "Mas Que Nada," re-recorded with Sergio Mendes, the musician who made it famous with his group Brasil 66."We gave it our own spin, put an orchestral arrangement around it, and made it as romantic and soaring as we could," says Powell.Having Mendes on board opened the door to other top-tier Brazilian musicians, including Bebel Gilberto. She sings a song and voices a toucan that, ironically, can't sing. "Making her sound tone-deaf was very difficult for us, because Bebel's voice is just beautiful," says Powell. "She had to really act to get that scene right; Carlos was on at her, saying, 'Worse, worse!' "For "Kung Fu Panda 2," Powell teamed up with mentor Hans Zimmer (with whom he had scored the first film in the franchise). As is often the case with sequels, the main musical themes had already been established, so the challenge was "to play with those themes in new ways," particularly for the entertaining fight scenes that have become a trademark of the franchise.Most painstaking was an opening fight scene that director Jennifer Yuh Nelson wanted to animate exactly in time to the music. "We had to create the music for that particular scene a year ahead of time," says Powell, "while everything else was made three months before the final dub."George Miller's "Happy Feet Two" represents a rare sequel for which a director demanded entirely new musical themes. "I worked on 'Happy Feet Two' for 3 1/2 years, and I was on the first one for 3 1/2 years, too. That's because the way George works is to fine-tune and fine-tune things until they are perfect, in a constant state of back and forth."And just because "Mars Needs Moms" was a critical and box office disappointment didn't mean Powell was any less attached to the characters or the music he created for them."When you're involved in a story you lose all perspective," he says. "So when the film comes out and no one goes to see it, it's very puzzling."Next year will see the release of Dr. Seuss adventure "The Lorax," for which Powell has written five songs; a score for "Ice Age: Continental Drift," and possible future shows with his band, formed by Jeffrey Katzenberg and fronted by Powell and Hans Zimmer.Their last performance was on the DreamWorks rooftop; another was in front of 12,000 people at Althorp, the U.K., the estate of the Spencer family (of which Princess Diana was a member). "We had a lovely time," says Powell, "although I don't think I've ever been in front of 12,000 people in my life."Eye on the Oscars: Song & Score Are acad rules out of synch? | 'Muppety' but not too 'Flighty' | Pinch hitter | Elizabethan notes culled from rubble | Utility player orchestrates 'Miracle' | Powell animated by quartet of pix | Animal, mineral mix in 'Apes' score | Gregson-Williams relishes the chase | Byrne scores big 'Albert Nobbs' | O'Connor in tune with 'Albert Nobbs' Contact the Variety newsroom at news@variety.com