LOS ANGELES (AP) - Robert Evans, the former head of Paramount Pictures who approved some of today's cinematic masterpieces, now has a star on the Hollywood Walk of Fame.
  
Films such as "The Godfather," "The Godfather: Part II" and "Love Story" were made at Paramount during Evans' tenure as production chief, lifting the previously struggling studio into success.

"If we hadn't made 'Love Story,' Paramount would now be a cemetery," he said at Thursday's ceremony. About 500 people were there to cheer for the producer, including Cheryl Tiegs, Mark Wahlberg, Peter Bart and Evans's ex-wife, Ali MacGraw.

Johnny Grant, director of the Hollywood Chamber of Commerce (news - web sites), affirmed Evans's impact on the film industry.

"Robert Evans was the main man in this town during a very trying period," Grant said. "He persevered and was very successful. It is appropriate that his accolades be placed in front of Grauman's Chinese Theater."

Evans, 71, started his career as a radio actor at 11, and switched to television in its infancy. In the 1950s, Evans landed roles in several movies, including "The Best of Everything," "Man of a Thousand Faces" and "The Sun Also Rises," where he played a bullfighter opposite Ava Gardner.

He wasn't even 30 years old when he became production chief at Paramount Pictures. He would stay there longer than any studio head since World War II.

This year, Evans' autobiography, "The Kid Stays in the Picture," was printed in 12 languages, and its film version premiered at the 2002 Sundance Film Festival. 

The Perfect Storm, the not so perfect lawsuit. 

A federal judge has sunk a lawsuit that claimed the reality-based George Clooney blockbuster The Perfect Storm portrayed several characters--including Clooney's doomed skipper--as "unprofessional, unseaworthy and incompetent." 

In a 12-page ruling issued Thursday in Orlando, U.S. District Court Judge Anne C. Conway said the 2000 Warners Bros. film was protected by the First Amendent and that the studio was well within its rights to fictionalize the account of the ill-fated sword-fishing boat Andrea Gail and its crew. 

Launched in August 2000, the suit was originally filed by the family of the Andrea Gail's captain, Frank William "Billy" Tyne Jr. (played by Clooney), and joined by the family of Dale Murphy (portrayed in the film by John C. Reilly). Doug Kosko, another fisherman briefly depicted in the movie, also called out the lawyers. 

The gist of their complaint: The flick, adapted from the megaselling book by Sebastian Junger, played fast and loose with the facts, showing Billy Tyne as "reckless" and "obsessed," and "as having suffered a self-imposed death, abandoning his crew and any hope of survival." The plaintiffs also claimed they never gave permission to filmmakers to use the names of their deceased family members. 

The suit named Warners and the two production companies responsible for The Perfect Storm as defendants and sought a cut of the film's receipts. The Perfect Storm raked in about $183 million in North America alone and millions of dollars more from video and international sales. 

Based on Junger's account, the film tells the story of the Andrea Gail, which vanished in a vicious North Atlantic storm in October 1991; Tyne and his five shipmates apparently drowned--the wreckage and their bodies were never found. Warners and filmmakers admitted they took dramatic license with the story, inventing scenes on the boat (including a shark attack) and showing Clooney's Tyne forcing himself into a watery demise. (Junger didn't write the screenplay and therefore was not targeted by the suit.) 

Warners trumpeted its victory in a press release. "We are extremely pleased," the studio said. "The plaintiffs' theory that Warner Bros. needed their permission to make The Perfect Storm...profoundly threatened free speech. 

"The court's ruling is a huge victory not only for Warner Bros. but for all writers, artists and filmmakers who may now continue to find inspiration in historical events without having their creative visions censored and controlled by anyone with a connection to those events." 

The plaintiffs, meanwhile, are mulling an appeal. 

BURBANK, Calif., May 9, 2002 (ENTERTAINMENT WIRE) -- A federal court judge today threw out a case brought by relatives of crewmen portrayed in the Warner Bros. Pictures film "The Perfect Storm." 

In a 12-page Order, U.S. District Court Judge Anne C. Conway ruled in Warner Bros.' favor on all counts, dismissing the entire action and vacating the June 3 trial date. The court also ordered the plaintiffs to pay Warner Bros.' costs in defending the lawsuit. 

Specifically, the plaintiffs alleged that Warner Bros. had violated their rights of publicity and privacy, and were entitled to $10 million in damages. Warner Bros. asked the court to dismiss the case, on the grounds that the plaintiffs' claims were legally defective and unconstitutional. 

Shortly after the release of the 2000 blockbuster film, the ex-wives of Billy Tyne (portrayed in the film by George Clooney) and Dale Murphy (portrayed in the film by John C. Reilly) sued Warner Bros. on behalf of themselves and their children, objecting to the way their ex-husbands were portrayed, and claiming the studio did not have the right to make the film without first obtaining their permission and compensating them. Doug Kosko, a fisherman briefly portrayed in the film, also sued. 

Warner Bros. released the following statement: "We are extremely pleased with the Court's ruling in this important case. The plaintiffs' theory that Warner Bros. needed their permission to make `The Perfect Storm' -- and were required to tell the tragic story of the Andrea Gail the way plaintiffs wanted it told -- profoundly threatened free speech. Long-standing and important forms of creative expression, such as dramatized accounts of true events, historical fiction or unauthorized biographies would have been imperiled. 

"In rejecting plaintiffs' claims and not requiring Warner Bros. to endure the burden and expense of a trial, and possible appeals, the court's ruling is a huge victory not only for Warner Bros. but for all writers, artists and filmmakers who may now continue to find inspiration in historical events without having their creative visions censored and controlled by anyone with a connection to those events. Creative works such as `The Perfect Storm' lie at the heart of the First Amendment's free speech protections, and Warner Bros. is deeply gratified that these fundamental principles were so thoroughly vindicated in today's decision." 

"The Perfect Storm" was based on Sebastian Junger's 1997 best-selling novel of the same name, and told the story of the unprecedented storm that struck off the coast of New England in 1991. A swordfishing boat known as the Andrea Gail was caught in the storm and lost at sea, resulting in the deaths of the boat's captain, Billy Tyne, and five crewmembers. While based on a true story, certain elements of the film were necessarily fictionalized. 

CONTACT:          Warner Bros., Burbank                   Barbara Brogliatti 818/954-7667

BURBANK, Calif. (Reuters) - A judge Thursday dismissed a lawsuit against Warner Bros. by relatives of the man whose life was the basis for the film "The Perfect Storm," who said their likenesses were used without their consent. 

The suit filed in August 2000 in U.S. District Court in Orlando, Florida, also alleged that Warner falsely portrayed the movie's central character, Capt. Billy Tyne, played by George Clooney, as reckless and maniacal. 

But in a 12-page order, Judge Anne Conway dismissed the suit that was set to go to trial on June 3, according to Burbank, California-based Warner Bros., a unit of AOL Time Warner. 

"We are extremely pleased with the court's ruling in this important case," Warner said in a statement. "The plaintiff's theory that Warner Bros needed their permission to make 'The Perfect Storm' -- and were required to tell the tragic story of the Andrea Gail the way plaintiffs wanted it told -- profoundly threatens free speech." 

Ned McLeod, an attorney for the group of plaintiffs that included Tyne's ex-wife Jodi Tyne, and his daughters Billie-Jo Francis and Erica Tyne, said his clients planned to appeal the ruling. 

"Over the past year, we all expected this to end up in the appeals court at some point," he told Reuters. "The issues are still very ripe and important to all of us on rights of privacy and not having our lives exploited in a picture like this in a fictious way." 

The plaintiffs filed their suit nearly two years ago, asking for damages and an injunction against further distribution of the blockbuster film that grossed $330 million worldwide. 

The film was based on Sebastian Junger's 1997 best-selling novel of the same name, and told the story of a ship and its crew caught in an unprecedented storm that struck the coast of New England in 1991. 

Warner, which acknowledged that certain elements of the film were fictionalized, called the decision a victory not only for itself, but "for all writers, artists and filmmakers who may now continue to find inspiration in historical events without having their creative visions censored and controlled by anyone with a connection to those events." 

ORLANDO, Fla. (AP) - A federal judge dismissed a lawsuit Thursday that claimed the film "A Perfect Storm" depicted the main character in a false and unflattering light.

Judge Anne C. Conway said the movie is protected by the First Amendment, and that the Supreme Court has given filmmakers broad leeway in depicting people and events.

The family of the late fishing boat captain, Frank William "Billy" Tyne Jr., sued Time Warner Entertainment Co. and the two companies that produced the film. The complaint said the film depicted Tyne, who was portrayed by actor George Clooney, as "emotionally aloof," "reckless" and "obsessed."

Warner Bros. applauded Thursday's ruling as a victory for artists "who may now continue to find inspiration in historical events without having their creative visions censored and controlled."

The family's attorney said he will talk to his clients about a possible appeal.

The film, based on the best-selling book by the same name by Sebastian Junger, tells the story of Tyne's final swordfishing expedition in October 1991 amid torrential storms that converged in the North Atlantic.

Tyne and five crewmen on the Gloucester, Mass.-based vessel all drowned, and the boat, the Andrea Gail, was never found.

On Wednesday night, The Museum of Modern Art kicked off what is intended to be a new annual film event. Dubbed "A Work in Progess," the benefit was designed, in the words of organizers, to pay tribute to the career and artistic vision of a young film director. New Yorker David O. Russell, director "Spanking the Monkey" (1994), "Flirting with Disaster" (1996) and "Three Kings" (1999), was singled out for the inaugural event, which was led by the MoMA's Department of Film and Media. 

The star-studded fete, which drew such notables as John Leguizamo, Mary Tyler Moore, Wes Anderson, Patricia Arquette and Macaulay Culkin, kicked off in the paparazzi-filled lobby of the Museum with a cocktail party. After some schmoozing, guests were herded to the downstairs Titus theater for a Q & A session (with films clips) led by Lily Tomlin (star of Russell's "Flirting with Disaster"). 

"Its great that MoMA's going to honor younger filmmakers that are a little older," quipped O. Russell, early in the session, later adding, "It is so surreal being up here, it doesn't make sense in a lot of ways -- I just had to say that." 

That aside, O. Russell and Tomlin scratched below the surface at times to offer some insights into the filmmaker's work. The concept of "the double-bind" was a term that came up more that once in the conversation. The director sees that as a core element of his stories, that is impossible situations that lead people to lies and deception. It's an idea that is clearly seen in "Spanking The Monkey," a movie that Russell admits he no longer likes to talk about too much, because, in his own words, its a "feel bad movie." 

A highlight of the session was the surreal moment when Saturday Night Live's Will Ferrell entered the auditorium, masquerading as James Lipton, the fawning host of Bravo's "Inside the Actors Studio." Gathering Russell film actors Mary Tyler Moore, Patricia Arquette, Glenn Fitzgerald and Richard Jenkins from "Flirting," Spike Jonze and Mark Wahlberg from "Kings" and Carla Gallo & Alberta Watson from "Spanking" on stage, Ferrell as Lipton peppered the participants with questions about themselves and their work with Russell. It was a hilarious celebrity "roast" moment that was funnier than most recent SNL sketches. 

After the skit, Ferrell invited guests upstairs to Sette MoMA for "all the ham you can eat." Guests dined on the buffet, but after about an hour, a few made their way to the door for the short walk to The Supper Club in Times Square for another high-profile Wednesday night event. 

NEW YORK (Variety) - Actor Mark Wahlberg is set to star in "The Italian Job," a high-octane heist drama that will begin shooting Aug. 3 at Paramount Pictures. 

F. Gary Gray is directing the film, a remake of the 1969 caper that starred Michael Caine, Benny Hill and Noel Coward. 

That film, though considered something of a stylish classic because of its clever use of the tiny, high-speed Mini Cooper cars for a memorable chase sequence, was much more of a comedy than the new version will be. 

While the original was a gold heist set entirely in Europe, the new version -- scripted by Donna and Wayne Powers -- will begin in Italy, but with the robbery taking place in Los Angeles. 

Automaker BMW bought the Mini Cooper and is releasing the first new models of the automobiles in 2003. That's good timing, because the cars will figure prominently in the revamped plot. 

Wahlberg will play Charlie Croker, a career criminal who heads the crew that masterminds a massive gold bullion take. It is made possible when they create the largest traffic jam in L.A. history. 

While that disables the populace, the criminals are empowered by their use of the Mini Coopers, which are incredibly fast but small enough to travel on sidewalks and the subway system while the city and the cops are immobilized. 

That plays to the strength of director Gray, who completed the Vin Diesel picture "Diablo" for New Line, and previously directed the logistically complicated action films "The Negotiator" and "Set It Off." 

For Wahlberg, the film marks the second high-profile remake he's toplined in Europe, as he starred with Thandie Newton in the Jonathan Demme-directed "Charade" remake, which Universal is calling "The Truth About Charlie." 

Give Tom Green points for knowing when to laugh at himself. (Lord knows no one was laughing during his movie.) 

The Canadian goofball and star of the box-office stinker Freddy Got Fingered became the first person to personally accept an award for Worst Film Saturday at the 22nd Annual Razzie Awards, honoring Hollywood's most gawdawful flicks of 2001. 

Not only did Green show up and score the day's top dis-honor, but the former MTV host's disastrous big-screen debut also scored him Worst Actor, Worst Screen Couple (Green and any animal he abuses), Worst Director and Worst Screenplay (cowritten with Derek Harvie). 

"I'd just like to say to all the other nominees in the audience, I don't think that I deserved it any more than the rest of you," said Green, who dressed in a tuxedo for the event. "I'd like to say that. I don't think that it would be true, though." 

A tad less surprisingly, diva-turned-actress Mariah Carey was a no-show despite being named Worst Actress for her much-maligned big-screen debut, Glitter. 

Following Freddy for overall Razzie wins was Tim Burton 's remake of Planet of the Apes. While both Burton and star Mark Wahlberg were absolved of any wrongdoing, the film was named Worst Remake or Sequel, and it swept the supporting categories: Model-turned-actress Estella Warren nabbed Worst Supporting Actress for Apes and the race-car dud Driven, while Charlton Heston  scored a triple razz for his work on Apes, Cats & Dogs and Town & Country. 

But the day's big winner, not too surprisingly, was Freddy Got Fingered. The Fox film was universally panned when it was released last spring, with critics condemning it as a cruel, gross and just plain unfunny adaptation of Green's TV persona. 

In the comedian's defense, there were a couple critics who actually liked Freddy Got Fingered (the New York Times chief among them). But it was not clear at press time what these critics were smoking when the reviews were written. 

The Razzies are voted on by more than 520 members of the Golden Raspberry Foundation, including critics and moviegoers, and honor the year's biggest stinkers with a gold-spray-painted plastic raspberry trophy (estimated street value: $4.29). In honor of Green's attendance, this year's Razzies were staged at The Abracadabra Theater at Magicopolis in Santa Monica, featuring an opening number ("Hooray for What's No Good!") and clips from the nominated films. 

All the losers, er, winners: 
*        Worst Picture: Freddy Got Fingered 
*        Worst Actor: Tom Green, Freddy Got Fingered 
*        Worst Actress: Mariah Carey, Glitter 
*        Worst Screen Couple: Tom Green and any animal he abuses, Freddy Got Fingered 
*        Worst Supporting Actress: Estella Warren, Driven and Planet of the Apes 
*        Worst Supporting Actor: Charlton Heston, Cats & Dogs, Planet of the Apes and Town and Country 
*        Worst Remake or Sequel: Planet of the Apes 
*        Worst Director: Tom Green, Freddy Got Fingered 
*        Worst Screenplay: Tom Green and Derek Harvie, Freddy Got Fingered 

HOLLYWOOD (Variety) - With the telecast running well over four hours, there have been few times in Oscar history when the audience was so primed for the Governors Ball. The black-tie masses might not have been huddled, but they were yearning to breathe free. 

"Lots of Hollywood marriages don't last that long," Miramax's Mark Gill said as he exited the Kodak Theater. 

Producer Laura Ziskin acknowledged the show's length but pointed out, "There were seven standing ovations. But who's counting?" 

Arriving at the same time as Ziskin was writer Bruce Vilanch, who said the only problem he encountered was "lots of coffee and not enough bathrooms backstage -- a lethal combination in a four-hour show." 

Most comments about the new hall were positive. One industryite's remark -- "The seats were great. I just couldn''t sit in them for four hours" -- was the norm. 

Directing nominee David Lynch said he thought the Kodak was "fantastic," but complained, "Smokers were shunted off to a low-class area and made to feel like criminals." 

Revolution Studios partner Tom Sherak thought the Kodak was "a beautiful venue," but added he "wished more Academy members were able to attend, as they can at the Shrine." 

There were surprisingly few comments about the Oscars being held in a mall. Maybe the crowd was just so hungry by the time they got to the ball (co-chaired by Alan Bergman and Cheryl Boone Isaacs), but the subject rarely came up. 

"It's too soon to tell" whether the Kodak will be Oscar's permanent home, according to producer Saul Zaentz, who downplayed the mall aspect. "Once you're inside, you don't know where you are. You could be anywhere." 

The ball itself got off to a rocky start when electrical problems played havoc with the complex lighting that's an essential element of the ballroom's decor. 

First the room went dark and was lit only by candles (that wasn't so bad), then the ceiling lights flooded the room with bright, incandescent light (that was bad), then the lights went on and off until the problem was solved, probably by unplugging the outside heat lamps. 

Vanity Fair's party at Mortons also was plagued by electrical problems. The joke that "the Vanity Fair Oscar party packed so much star wattage that the power went out" started making the rounds just moments after the lights blinked off at 1:30 a.m., putting a premature cap on the magazine's annual soiree. 

"Nobody panicked," magazine rep Beth Kseniak marveled. "Immediately, security guards were shining their flashlights around so it wasn't pitch black." 

The evening offered plenty of illuminating conversational couplings: George Lucas looking up at Nicole Kidman , Paramount Pictures chairman Sherry Lansing emoting with Oprah Winfrey , Diane Sawyer chatting up Mel Gibson, Tom Hanks conferring with Edward Burns, and Robert Duvall talking arts and crafts with painter-director Julian Schnabel. 

Over dinner, 170 guests at Mortons didn't seem to mind the record length of the show, especially during Halle Berry's speech, which acknowledged guests Winfrey, Angela Bassett and Vivica A. Fox. Winfrey stood and cried along with Berry. 

"The level of emotion was a throwback to old Oscar ceremonies," Lansing said. "It started with Sidney Poitier and just went on from there." 

When the main event went dark, the electricity was just starting to flow at the Hollywood Hills bash thrown by DreamWorks production president Michael De Luca and Endeavor agent Patrick Whitesell. 

In a glass-walled manse high atop Sunset Plaza Drive, the bold and the beautiful feasted on breakfast food and partied until the panoramic view grew rosy at dawn. Among those populating the dance floor -- not to mention the serpentine limo line -- were Tyra Banks, Jay-Z, Sean Combs, Janet Jackson, Mark Wahlberg , Tobey Maguire , Ben Stiller , Cuba Gooding Jr., Patricia Arquette , Ray Liotta, Chris Kattan and Neve Campbell. 

Down the block from Mortons at the Elton John/InStyle AIDS benefit, Sir Elton was promising the 1,000 guests at Moomba that his band was "gonna blow away those old farts over at Vanity Fair." 

While John was taking a more aggressive stance in the party wars, InStyle's incoming managing editor Charla Lawhon was being diplomatic. "There's room for everyone," she said. "He's very passionate, and it's for an incredibly good cause." 

Lawhon was pleased with the eclectic crowd, which included Kevin Spacey (having his picture taken with Olympic gold medalist Derek Parra), Paul McCartney, Bob Dylan , the Backstreet Boys, Olympic gold medalist Apolo Anton Ohno, Melissa Joan Hart , Jane Kaczmarek and Bradley Whitford , Eric McCormack , Denzel Washington  and Janet Reno. 

Lawhon said she was "very pleased with the way things are going. It's a very personal night for me. It's our sixth year doing this, we want to support Elton." 

Other Oscar-night parties included DreamWorks, Universal and USA Films celebrating together at Twist in the Renaissance Hollywood Hotel; New Line at Maple Drive; Amnesty Intl. at Ago; and the Night of the 100 Stars at the Beverly Hills Hotel. 

In New York the Academy's official viewing party was at Le Cirque 2000 and Entertainment Weekly's fiesta was at Elaine's. 

NEW YORK, February 28, 2002 - A Work in Progress : An Evening with David O. Russell, hosted by the Department of Film and Media, the Film and Media Trustee Committee, and The Junior Associates of The Museum of Modern Art, will take place on April 10, 2002. This inaugural film benefit will honor the critically acclaimed writer/director’s work, his creative vision, and his dedication to the art of film making. Russell, a native New Yorker, is best known for his feature films, Spanking the Monkey (1994), Flirting with Disaster (1996), and Three Kings (1999). As a result of the generous donation of the film maker’s prints by New Line Cinema, Miramax Films, and Warner Bros., this event also marks the acquisition of these films for the Museum’s collection.

This celebrity event will benefit the Department of Film and Media and the Museum’s young patron group, The Junior Associates. The committee in support of the benefit includes Alan Alda, Wes Anderson, Patricia Arquette, Sofia Coppola, Spike Jonze, John Leguizamo, Mary Tyler Moore, Edward Norton, Alexander Payne, Ben Stiler, Lily Tomlin, and Mark Wahlberg. Todd McCarthy, Variety’s chief film critic, and Elvis Mitchell, film critic with the New York Times, a rewriting essays for the evening’s program The evening will begin with a champagne toast, followed by a conversation w ith the film maker. The conversation will be moderated by Lily Tomlin a nd highlighted by film clips from Russell’s work as well as clips from films that have inspired him. This program will be held in the Museum’s Roy and Niuta Titus Theater 1 and will be the last film benefit held at  MoMA prior to there location of exhibitions during its Building Project. MoMA QNS will open June 29 in the new facility located in Long n Island City, Queens, and the mid town Manhattan building is scheduled to reopening 2005.

Following guest appearances and celebrity speakers, the evening will conclude with a late supper buffet and cocktail reception held at Sette MoMA, the Museum’s restaurant, with DJ and dancing. The Museum has also programmed a film series entitled A Work in Progress: The Films of David O. Russell, to showcase all three of these films at the Museum's theaters from April 25 to 27.

“The Department of Film and Media, The Junior Associates, and the Film and Media Trustee Committee of The Museum of Modern Art are delighted to inaugurate an annual event in honor of a filmmaker whose career is at an exciting moment,” says Mary Lea Bandy, Chief Curator of the Department of Film and Media. “Such a recognized talent is David O. Russell.” The Junior Associates have supported the Museum's Film and Media programs and have funded the acquisition of new works by young independent film artists.

A Work in Progress: An Evening with David O. Russell is made possible by Regency Enterprises, Warner Bros., New Line Cinema, Endeavor, James Family Foundation, and Gang, Tyre, Ramer & Brown. Additional generous support is provided by Miramax Filns, Castle Rock Entertainment, and Vanity Fair.

Special thanks to Sette MoMA, SKYY Vodka, and The Hollywood Reporter.
Travel arrangements by Al tour International. Hotel accommodations courtesy of The Waldorf Towers.

Gift bag contributions provided by Village Roadshow Pictures and index magazine.

Tickets are available from the Department of Special Programming and Events, 212/708-9680.

David O. Russell is available for interviews.
No. 18
Press Contacts:
Aimee Shieh, Event Publicist, 212 / 358-9064, or [email protected]
Lisa Raden, Event Publicist, 212/647-0587, or [email protected]
Paul Power, Senior Film and Media Publicist, MoMA ,212/708-9847, or [email protected].