'Iron Man 3' Leaving Los Angeles for North Carolina's EUE/Screen Gems Studios

Paramount/Marvel Studios The third installment of Marvel Studios' Iron Man franchise is setting up shop in North Carolina. EUE/Screen Gems and North Carolina Governor Beverly Perdue announced in a press conference Thursday that the studios' Wilmington outpost will host the bulk of the film's production. Marvel filmed both Iron Man and Iron Man 2 both at its own Manhattan Beach studios in California, where it reportedly considered producing the threequel, along with locations in Michigan and New Mexico. PHOTOS: Top 15 Grossing Threequels of All Time "We aggressively pursued this piece of business," said EUE/Screen Gems co-owner and COO Chris Cooney. "This film is a game changer-not only for our studios, but for the entire state of North Carolina. It feels great to bring this project to Wilmington, a place where we've invested emotionally and financially since 1996. Today, our vision becomes reality." Cooney cited North Carolina's 25-percent film incentive and the studio's 150,000-square-foot facility as factors in Marvel's decision. PHOTOS: Shots From 'The Avengers.' Marvel's Superhero Film Iron Man 3 marks the largest production to come to Wilmington, which has previously hosted films such as I Know What You Did Last Summer and 28 Days and the television series Dawson's Creek. Starring Robert Downey Jr., the original Iron Man took in $585 million worldwide 2008. Its 2010 sequel had an international take of $624 million. Iron Man 3 is set to move into its Wilmington offices in early 2012, with a scheduled release date of May 3, 2013. Robert Downey Jr. Marvel Entertainment Screen Gems

'Revenge' Star Emily VanCamp Previews the Season's Momentum Shift and the Love Triangle

ABC Fans could feel that things just got very dire on ABC's Revenge.our editor recommendsABC Gives Full Seasons to 'Revenge,' 'Suburgatory'; Orders More 'Happy Endings'ABC's 'Revenge': Meet Emily Thorne's Men'Avatar' Actress to Guest Star on 'Revenge' PHOTOS: ABC's New Season TV Shows On the last episode, Emily's plan took a deadly turn when Victoria Grayson's (Madeleine Stowe) security thug killed her husband's mistress, Lydia Davis (Amber Valletta), which wasn't part of Emily's plan. Star Emily VanCamp says that murder isn't the end goal for her character. "I think in a sense there's a moral code. She's not out to kill anyone," VanCamp tells The Hollywood Reporter. "She's out to destroy these people's lives and watch them suffer as she suffered." "If she's threatened, I think she'll certainly fall back on those tools she has accumulated over the years," she continues. "But, she's not in the business of killing these people. She wants them to pay and suffer in various ways." On Wednesday's episode, Emily and Nolan (Gabriel Mann) have to deal with the fallout (excuse the pun) of Lydia's murder and the actress says the episode will represent a shift in the series. Emily has served up pretty much a takedown on each episode so far, but that will begin to change. VIDEO: 'Revenge' Star Emily VanCamp on Her New Series: 'There's Quite a Few Takedowns' "Episode 6 is just killer," she tells THR excitedly. "When I was reading the script, I was texting [creator Mike Kelley] saying I need to know what happens next. It's so good. We have a blast with it. After that, the series starts to slow down and becomes sort of a bigger arc for all the characters." She also hints that the love triangle will become more intense. Emily's relationship with Daniel Grayson (Josh Bowman) really heated up on the last episode, but VanCamp says we shouldn't count Jack Porter (Nick Wechsler) out. "They're two very, very different men," she says. "With Jack, he's the one link to her past that still exists and holds fond memories. At first, she's cautious of him, but ultimately, you can't help how you feel. She's still a young woman even though she has all these issues, let's be honest. She still feels. This love triangle is going to be a really tricky one, but a good one." "I'm kind of a lucky gal, look at these guys," she laughs. "Sucks to be me." Revenge airs Wednesdays at 10 p.m. on ABC. Email: Jethro.Nededog@thr.com; Twitter:@TheRealJethro ABC Revenge Emily VanCamp

Our Paradise (Notre paradis)

An Alfama Films release, presentation and production, in colaboration with Rhone-Alpes Cinema, using the participation of Clap Filmes. Created by Paulo Branco. Directed, compiled by Gael Morel.With: Stephane Rideau, Dimitri Durdaine, Beatrice Dalle, Didier Flamand, Jean-Christophe Bouvet, Raymonde Bronsten, Malik Issolah, Mathis Morisset.Johns get a bit more compared to petite mort they purchased from a maturing hustler in "Our Paradise," from extremely uneven Gallic actor-switched-director Gael Morel ("Three Dancing Slaves," "Apres lui"). Plodding drama in regards to a murderous rentboy past his prime does not appear to possess several factor at any given time around the brain, and frequently not really it's never obvious, for instance, if the man's much-lamented advanced age -- we are speaking mid-30s -- is in some way associated with his violent compulsions. Commitment of a subtitled sexy time should nevertheless put some butts in seats at queer fests. Co-workers tell the not-unattractive, in-search-of-work Vassili (Morel regular Stephane Rideau) they have clients more youthful than he's. An expert collaboration having a youthful, angelic co-worker (Dimitri Durdaine) only sometimes does the secret and gets to be more complicated once the two fall madly in love. Nonsensical subplots, including not just murder but additionally a fag-hag acquaintance (Beatrice Dalle) and her kid boy (Mathis Morisset), further dilute interest, though frequent full frontals might keep not-too-demanding auds hooked. "My Very Own Private Idaho," this is not, however, using the just-average tech package delivering neither the grit nor the lyricism intended.Camera (color, HD), Nicolas Dixmier editor, Catherine Schwartz music, Camille Rocailleux production designer, Ze Branco costume designer, Helena Goncalves. Examined at Pathe Cordeliers, Lyon, France, March. 6, 2011. Running time: 97 MIN. Contact Boyd van Hoeij at news@variety.com

F1 Cars to Race 250 miles per hour on Roads Just Miles From Manhattan (Report)

NY - F1 vehicle races can come to Nj within 10-year deal set to become introduced by Gov. Chris Christie Tuesday, the NY Publish reported.our editor recommendsRupert Murdoch Exploring F1 Takeover Options With Mexican Billionaire Carlos SlimLady Gaga To Do At Indian F1 After-Party The earth's top racing vehicle circuit will placed on a Jersey Grand Prix race in June 2013, it stated. London-based F1 has lengthy wanted to get involved with the NY City area. It's not held a U.S. race since Indiana in 2007. The path from the Grand Prix of America is anticipated to begin at JFK Boulevard East in Weehawken, just across from midtown Manhattan, the Publish stated. Less than 20 races are held every year by F1, and fans pay hundreds of dollars for his or her seats, based on the Publish. Christie's office told the paper he needs that F1 brings "a substantial economic and tourism boom for the condition." The Publish reported estimations the race could generate hundreds of million dollars each year. Related Subjects

Cinematographer Denny Hall dies

Cinematographer Denny Hall died Thursday morning while shooting the united states Network series "Common Law." Hall, 54, was using the crew in New Orleans, filming the 2nd episode from the skein. Based on CBS Television Galleries, which produces the show, Hall had heart disease in the hotel and the roommate, a camera operator, known as for that paramedics. After coming in the hotel, the paramedics were not able to bring back Hall. Hall, who committed to TV work, is a d.p. for many series in the last ten years, including "Burn Notice," "Franklin & Party," "The CleanserInch and "Studio 60 around the Sunset Strip." Before being a d.p., Hall would be a camera operator for several years. "Common Law" is really a one-hour drama which has yet to air. Michael Ealy and Warren Kole star as La Police Dept. robbery and homicide detectives. Jack McGee and Sonya Walger also star. Series is professional created by Cormac and Marianne Wibberley, Craig Sweeny and Jon Turtletaub, who directed the pilot. Contact Stuart Levine at stuart.levine@variety.com

Bingham Ray to mind Bay Area Film Society

Ray Film veteran Bingham Ray continues to be named professional director in the Bay Area Film Society. Ray is really a well-known studio and indie professional whose resume includes co-founding October Films, becoming prexy of U . s . Artists and holding two posts with Sidney Kimmel Entertainment. His newest gigs include first-run programming consultant in the Film Society of Lincoln subsequently Center, professional consultant to digital distributor SnagFilms and adjunct professor at NY U.'s Tisch School from the Arts. In Bay Area, he'll take on the positioning formerly held by Graham Leggat, who died in August. Leggat, who became a member of SFFS in October 2005, broadened the org's activities beyond its annual 15-day film festival to encompass year-round initiatives in education, exhibition and filmmaker development. Together with the Bay Area Intl. Film Festival, set the coming year for April 19-May 3, the 54-year-old SFFS also programs small-fests including approaching fall choices in French cinema, Italian films and animation. Ray starts his job in Bay Area on November. 7. Contact Gordon Cox at gordon.cox@variety.com

Monster In-Laws and regulations: TV Review

Moving rapport using the parents of a person's spouse has lengthy been a vexing relationship challenge. To wit, in-law jokes - many of them fond of inherited moms - have grown to be standard fare in comedy clubs, literature, films and tv. Cribbing its title from Monster-in-Law, the 2005 Jane Fonda/Jennifer Lopez comedy concerning just this type of conflict, A&E's new series Monster In-Laws and regulations explores the disorder of individuals extended families who, to say the least, aren't seeing eye-to-eye. PHOTOS: 10 Television Shows Canceled Faster Than 'The Playboy Club' Within the premiere episode, we meet Kim, her husband Anthony as well as their youthful daughter Nina Marie, a middle-class family in western NY whose life is centered by the existence of Kim's parents, Richie and Pam. "Getting a daughter may be the greatest factor on the planet,Inch Pam states, justifying the insane period of time she and her husband spend at their daughter's home doting on Nina Marie. "It's much better than sex. It's much better than anything." The actual monster here, however, isn't Pam, but Richie, a bald, Italian, my-way-or-the-highway father. PHOTOS: Fall TV Dying Pool: Which New Show Can Get Canceled? "Anthony's and Kim's rules aren't my rules when my daughter is by using us," Richie states unapologetically. "She lives by my rules, and when everyone can't realize that then you definitely got an issue.Inch Obviously, none of the sits too well with Anthony or Kim, although the couple have introduced a lot of their predicament on themselves since they have gone into business with Kim's parents within an Italian restaurant named ... wait for this ... Nina Marie's. "Engaging in business with my in-laws and regulations was certainly among the worst choices I have available,Inch Anthony states, explaining why he and Kim abruptly left on the responsibilities in the restaurant, departing Richie to handle it. To be certain, there is no shortage of problems on Monster In-Laws and regulations, and also the explosive promotions for that show would make you believe that it'll turn to be nothing more than a Basketball Spouses scream-fest in family form. Rather, producers Brent Montgomery (Pawn Stars) and Courtney Montgomery (Exactly what the Sell?!) have thankfully elected for that therapy type of reality television (see also: Hoarders and Intervention) where a specialist is introduced in to fix all that's so clearly damaged with this protagonists. Within moments of her arrival in the home, "family expert" Mel Robbins can easily see what's what. "It's Ritchie's rules. He does not care exactly what the parents want. So, yes, clearly he's undermining the household, and it is pissing Kim and Anthony off," Robbins states inside a cut away interview. Diagnosis may be the easy part, however, and Robbins isn't any Cesar Millan if this involves whispering problems away. Her solution to get Richie and Pam to begin improving their daughter and stepson? She rips off large bits of duct tape from the roll and informs her to affix them over her parents' mouths. The reality is this suggestion pushes the half-hour episode to the emotional climax. Why is the proceedings stick out using their company shouting match television, is the fact that Richie and Anthony show genuine discomfort and vulnerability amongst their fits. The strain during this family feels all-too-real, and never entirely manufactured for rankings. For any genre that appears to require bigger blowouts, and much more spectacular existence changes with each passing season, that's no small task.

DWA at a crossroads

Katzenberg 'Kung Fu Panda 2'Now that Paramount is getting its toon division together, Jeffrey Katzenberg is under even more pressure to choose a future distribution path for his DreamWorks Animation. One option -- to turn DWA into a standalone studio with a distribution arm -- has one major hurdle: money.Not that Katzenberg necessarily needs to raise more. He just doesn't want to spend it if he doesn't have to. When DWA's distribution deal with Paramount Pictures expires at the end of 2012, a deal with another studio or an indie is certainly possible. Alternately, DWA could go it alone, via innovations in its digital distribution and international deals.But the solo route would not come cheaply. Any deal with a different distrib would require the right terms, and DWA's board has said that reupping with a theatrical and homevideo distribution fee higher than 8% is out of the question.The plot thickened on that impasse in July, when Paramount announced the launch of its own animated division, which will make one $100 million film per year. With a key exec now in place -- Par announced Monday that it had tapped former Walt Disney Feature Animation topper David Stainton to head the division -- and more to surely follow, it's even less likely that the studio will budge on its demands for a better deal.DWA releases two or three films annually, such as this year's "Kung Fu Panda 2" and "Puss in Boots." Last year, the company released "How to Train Your Dragon," "Shrek Forever After" and "Megamind."For 2012, it has "Madagascar 3" (June 8) and "Rise of the Guardians" (Nov. 21). Under current terms, Par covers the marketing and distribution costs for DWA's pics and gets reimbursed once the box office grosses start flowing into DWA's coffers. It also takes an additional 8% fee off of the B.O. haul, as well as 8% of the homevid revenue.DWA would probably not have difficulty putting together a P&A fund, as marketing coin -- the first to be repaid -- is easy to come by. Still, a DWA distribution effort likely won't have the purchasing power that a Paramount affords.Should Katzenberg go its own way, DWA would get to keep that revenue for itself -- estimated to be around $80 million to $100 million a year, according to a Barclays Capital report from June 27. But the studio would also have to pony up the distribution and pricey marketing coin upfront, rather than defer payment once each pic is released.That kind of flexibility is what's enabling Katzenberg to consider taking DWA independent. Here's what DWA's number crunchers are considering: Production: DreamWorks spends around $130 million to produce its pics. As of June 30, the company had $113 million in cash on hand. Marketing and distribution: Par averages $105 million on prints and advertising to release DWA's toons domestically and spends another $45 million to release them overseas. Homevideo: To handle homevid costs, Par ponies up $3 per unit and another $1 to ship them to retailers, amounting to $50 million per title -- a conservative estimate. Marketing costs another $20 million per pic. TV: Fees to release pics to broadcast TV and pay TV channels and pay-per-view platforms costs another $10 million per pic.To start distributing films, DWA would have to staff up and hire not only a distribution team but also marketing and sales staffers -- consisting of roughly 35-50 people, that would cost around $5 million a year in overhead. They would be based at the company's Glendale, Calif. campus.That crew would need to spend three months prepping each theatrical release, another six months handling the domestic and international releases, followed by three months releasing the homevid. Physical distribution, however, would only be required for three months out of the year during a pic's domestic release, since international distribution would be outsourced. Some bizzers question whether two or three DWA toons each year would earn enough coin to offset the overhead costs of running the company's own distribution arm. According to sources, three releases each year would make the company commercially viable, while two releases would require each title to make at least $200 million domestically -- which just six of DWA's 18 titles have done.But DWA is said to be considering several cost-effective alternatives, including distributing its pics digitally to theaters, eliminating costly print and shipping fees. According to the National Assn. of Theater Owners, 21,781 of 39,000 screens can play pics received by digital means.Another option would be to employ a rent-a-system distribution deal where DWA pays a fee that amounts to a percentage of box office per domestic release (likely less than what Paramount is currently collecting from DWA). Practice is primarily used by independent producers through companies like Relativity or some of the majors.Any distribution exec will have to deal with the domestic decline in 3D ticket sales, at least -- and for family 3D films especially: Since 2009, DWA has generated 60% of its box office from higher-priced 3D tickets domestically. But that has dropped, with "Kung Fu Panda 2," earning 45% of its B.O. from 3D.The percentage is higher overseas, including territories like China -- with the second highest number of 3D screens outside the U.S. -- where DWA is planning to build an animation facility, based in Shanghai, to produce toons developed for the Chinese market.Under its current arrangement DWA still has the option of extending its contract with Par through the end of 2013, while it figures out which moves it wants to make. That would give Par more toons to release -- DWA has three skedded that year with "The Croods" (March 22), "Turbo" (July 19) and "Me and My Shadow" (previously announced for Nov. 8) -- until it can release its follow-up to "Rango."Another option is Universal, which once distribbed the company's homevideo titles. U's first-look deal with Chris Meledandri's Illumination Entertainment ("Despicable Me," "Hop," "The Lorax") isn't expected to put the brakes on talks with DWA, given that the company isn't exclusively U's toon studio.DWA could also move to another major, or even minimajor like Lionsgate, that wants to beef up its slate with toons.Outside of getting its films into theaters, DWA brokers its own deals involving its TV shows, licensing and consumer products, stage shows and digital distribution of homevid titles.Last month, DWA opted to exit its pay-TV deal with HBO, which was due to expire in 2014, and instead stream its films and TV specials through Netflix, starting in 2013. Deal could pay it around $30 million per pic, analysts said. That deal comes as DVD sales decline and Blu-ray (something DWA was late to embrace) and digital sales have yet to make up for the losses. DWA films typically earn 40% of their revenue from homevideo, mainly DVD sales. Analysts expect "Kung Fu Panda 2" to earn around 30% from disc sales.DreamWorks' library typically pumps out around $100 million a year, but is expected to grow to $150 million as more pics get added.Offscreen, the company has aggressively wooed families by launching character-driven programs with hotel chain Gaylord Resorts and Royal Caribbean. Walmart and McDonald's have also been retail and promo partners for the studio. And the company produces musicals and touring shows based on its pics, which are expected to generate around $30 million this year. It has spun off animated TV shows from "Madagascar," "Kung Fu Panda" and "How to Train Your Dragon" to air on Nickelodeon and Cartoon Network.For now, however, Katzenberg remains quiet about his plans."As I have (said) for five years and one quarter, Paramount continues to do an excellent job for us," Katzenberg said in an April quarterly earnings call with analysts. He added that DWA won't likely address any talks until this time next year at the earliest. DWA declined to comment for this story. Contact Marc Graser at marc.graser@variety.com

What's Next for Hugh Jackman

With the robot fighting feature "Real Steel" in theaters this weekend, star Hugh Jackman has several movies coming down the pipeline."Real Steel" snagged the No. 1 spot in the domestic box office, earning more than $27 million, but the Shawn Levy-directed film has received mix reviews, most referencing the "Transformers" and "Rocky" franchises."Rocky the Robot" would have been the most accurate title for this bot-boxing melodrama, which feels like a mashup of spare parts from "Transformers," "The Champ," "Star Wars" and Sylvester Stallone's series, among other cash cows of various vintages," writes "The Hollywood Reporter's" Todd McCarthy.Here is what Jackson has in the works:Jackman co-stars in "Butter," starring Jennifer Garner, as Boyd Bolton. The indie film centers on a young girl who discovers that she has a talent in making sculptures out of butter. "Butter" is set to be released Oct. 21.Following "Butter," Jackman can next be seen in the ensemble feature, "Movie 43," in which he co-stars with Elizabeth Banks, Emma Stone and Kate Winslet, just to name a few. Banks directed the film as well, which will come out next year.Jackman also provided his voice for the upcoming animated film, "Rise of the Guardians," which revolves around Santa Claus, the Easter Bunny, Jack Frost and other childhood characters teaming up to protect children's imagination. Chris Pine, Alec Baldwin and Jude Law are among the other voice actors.In addition to the long-gestating sequel to "Wolverine," the Australian actor will play Jean Valjean in the big-screen adaptation of "Les Miserables," alongside Russell Crowe.It was announced last month that Jackman would be making a return to Broadway with his show, "Hugh Jackman: Back on Broadway," for a 10-week stint at the Broadhurst Theatre. Performances are slated to begin Oct. 25 and go through Jan. 1, 2012, with opening night taking place on Nov. 10. The Hollywood Reporter

South Park Takes on Aspergers Syndrome in Mid-Season Premiere (Video)

Comedy Central South Park returns Wednesday night with the second half of its 15th season. In the mid-season premiere, creators Trey Parker and Matt Stone take on Asperger's Syndrome (or in this case, "Ass Burgers Syndrome") as Cartman goes to the nurse complaining of strange symptoms with a wrapped hamburger stuff down the back of his pants. The animated series' return this time is noteworthy in that it's the first batch of new episodes to be written since its creators won multiple Tony Awards over the summer for their Broadway musical, The Book of Mormon. The musical took home nine awards, including best musical, best book and best original score. Ass Burgers Get More: SOUTH PARKmore... Comedy Central is also debuting its new South Park behind the scenes documentary 6 Days to Air on Sunday night. The film follows Parker, Stone and their army of animators through the break-neck production pace of a single week in which they conceive, write, animate and edit and entire episode of South Park. South Park

The Hangover 2 Full Movie

'Dark Shadows' Score Will Be 'Wilder' Than 'Edward Scissorhands,' Says Danny Elfman

Although the first photo we saw of Johnny Depp in his "Dark Shadows" garb had us feeling a little skeptical, the second batch of pics that hit the Interwebs last week have us back to being over the moon excited for director Tim Burton's take on the 1970s vampire soap. Even better, MTV News managed to get a few more "Shadows" details from Burton's other frequent movie-related collaborator, composer Danny Elfman, who revealed we can expect something "a little wild." "Its still very early, theyre not even done shooting. I just sent them some stuff so they can play with it while theyre editing," Elfman told us about his progress on "Shadows" at the premiere of "Real Steel," the score for which he also composed. "I think its just going to be fun. You can tell from Johnny Depps hairstyle right off the bat, its like, Oh wow, thats different. Its [set in] the 70s, its going to be fun." With regard to what type of sound Elfman is going for in composing the "Shadows" score, we asked if it will have a pronounced theme, a la his previous work for Burton's films like "The Nightmare Before Christmas" and "Edward Scissorhands." "I think this will be a little wilder than 'Edward Scissorhands,' but I dont know. I really dont know what to expect until its done." Elfman also said that he and Burton had discussed the use of a smaller-scale orchestra, but that nothing has been set in stone yet. "I think we might keep it small. That was Tims first thought to make it very small, but having said that maybe well make it big. Things can change between now and then." Will Elfman's "Dark Shadows" score be another classic like "Beetlejuice," "Nightmare" or "Scissorhands?" Tell us in the comments or on Twitter!

Watch Transformers 3 Movie

Perdida

An Alistair Tremps production in association with Arte, Musica y Video and Imcine with the support of Agrasanchez Film Archive. Produced by Tremps. Directed by Viviana Garcia Besne. Co-director, Alistair Tremps.With: Guillermo Calderon Stell, Maria Teresa Calderon Stell, Rafael Calderon Jr., Alma Montemayor, Pedro C. Perico, Ricardo Montalban, Jorge Garcia Besne, Armando Silvestre, David Ramon, Enrique Vidal, Antonio de Hud, Ana Luisa Peluffo, Joaquin Cordero, Sasha Montenegro, Lyn May, Rafael Inclan.Mexican film history gets an amusing and surprisingly personal overhaul in "Perdida," as Viviana Garcia Besne -- granddaughter of the Calderon dynasty -- gleefully liberates skeletons from closets and apocryphal footage from forbidden vaults in an earnest albeit frequently hilarious effort to clear things up about her family's unorthodox contributions to the art. For Mexican auds, the doc offers wild, revisionist fun. Apart from the pic's inclusion in this year's Telluride lineup, U.S. release seems unlikely, and yet this unique artifact may actually be more entertaining to those with no knowledge of the subject. For south-of-the-border cinephiles, the Calderon name is synonymous with the lowbrow Santos series and ultra-popular "ficheras" genre -- bawdy sex comedies that, in their own sub-Corman way, sustained the Mexican film industry at its ebb. Through a dizzying array of stills, archival footage and contempo interviews with surviving relatives (a whirlwind that makes subtitle reading a chore), Garcia Besne reclaims respect for the family's myriad contributions, while putting to rest such mysteries as why her grandmother still carries a flame for Ricardo Montalban and what became of a Vatican-defying nudie version of cult hit "El vampiro y el sexo."Camera (color/B&W, HD), Garcia Besne; editor, Besne; music, Anahit Simonian. Reviewed at Telluride Film Festival, Sept. 3, 2011. Running time: 94 MIN. Contact Peter Debruge at peter.debruge@variety.com

Judge Asked to Reject Resistance to "Y.M.C.A." Copyright Termination (Exclusive)

Pierre Verdy/AFP/Getty Images The sound of dissonance over a provision of U.S. copyright law which allows recording artists and songwriters to take back ownership over creative works is growing louder. On Wednesday, attorneys for Victor Willis, the original lead singer of the Village People, delivered arguments to a California federal judge why a copyright grant to songs such as "Y.M.C.A." should be terminated over the objections of the two companies that administer publishing rights.our editor recommendsWhen 'Glee' Met the Village People (Pic)Original Village People member suesPrince and The Village People Team Up Against Pirate Bay For more than three decades, ever since Congress amended the copyright code to allow artists to wrest back control on works 35 years after creation, artists have been waiting patently to do so. The "termination" issue has loomed as aticking time bomb for record labels and music publishers, and Willis' move earlier this year to effectuate his termination made headlines and was much discussed by folks in the music industry. As the clock winds down for other artists to send out termination notices on works created in the late-1970s and early-1980s or forfeit their right to do so in the foreseeable future, some musicians are chomping at the bit. For example,Jim Peterik, co-writer of the iconic 1982 rock song, "Eye of the Tiger," first made famous in Rocky III, is ready to send his own termination notice. Helping him is a firm called Copyright Recapture, which reportedly has signed up 125 songwriters as clients. With potentially hundreds of millions of dollars at stake, publishers are not going to give up rights without a fight. In July, after Willis delivered the bad news toScorpio MusicandCan't Stop Productions (CSP), thetwo companies raised the first significant legal challenge in the music industry on this termination issue by seeking a declaration in California federal court. They argued that Willis' copyright pullback should be deemed improper because the songs were created by several authors -- not just Willis -- as works-made-for-hire, and that Willis was barred from contesting his status as a "writer for hire" by not objecting sooner. Last week, Willis asked a judge to dismiss the claims from Scorpio and CSP. The first issue in this case is whether rights to a song created by multiple authors can be terminated by a single co-author. The applicable section of copyright law reads: "In the case of a grant executed by one author, termination of the grant may be effected by that author. In the case of a grant executed by two or more authors of a joint work, termination of the grant may be effected by a majority of the authors who executed it." Willis' attorneys say that the publishers are misreading this section in making the argument that Willis needs other Village People members to join his cause. Willis' side stresses the singular nature of the word, "grant," and believe the publishers to be conflating the creators from the terminators. To support the idea that a majority of authors can effectuate a termination, but that it's not a requirement, third-party legal analysis of the provision is provided as well as the established practices of the music industry where single co-owners are allowed to license or assign a copyright. Next comes the issue of "works made for hire," or whether Willis was employed at the time of creation and thus, handed over copyright per the scope of his employment. If such is the case, Willis isn't really the "author" in the eyes of U.S. Copyright Law and has no right to terminate. The music publishers present a series of late-1970s agreements between Willis and CSP to show an employment relationship, but Willis' attorneys point out that the contracts don't use the terms, "employee" or "writer for hire," despite the Copyright Act's purported requirement that parties expressly agree to such an arrangement if there is one. Further, Willis' side offers a legal analysis of whether such an employment situation could be construed from factors established by past courts -- it finds none and says the plaintiffs haven't done much analysis here -- andpoints to the language of the grant itself, which "assigns" rights. As for whether Willis is barred by the statute of limitations and other doctrines from objecting to his alleged "author fire hire" status, the singer's attorneys call the claim "absurd on its face" with no "basis in fact or law." The motion to dismiss filed by Willis last week isn't all bad news for the music industry, however. On one hand, Willis challenges the plaintiff's notion that termination is merely limited to a discussion of royalty percentages. But on the other, Willis says that he's not disputing the continued exploitation of existing derivative works from prior licensing agreements made. That'll help, among others, record labels that have made "Y.M.C.A." sound recordings after licensing rights to the song. Here's Willis' arguments in full on why publisher resistance to his copyright grant termination should be rejected: E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner

Watch Movies Free Online