Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Oscars telecast review: Guys, it’s not about you

NEW YORK (TheWrap.com) – Would it shock you to learn that this year’s Oscars producers also produced “Chicago“? Not at all? OK.

Self-referencing was the order of the evening Sunday at an overstuffed Oscars telecast where host Seth MacFarlane and producers Craig Zadan and Neil Meron decided the ceremony was All About Them.

That was the only explanation for a lengthy opening sequence centered on how MacFarlane would fare as host, and numerous reminders throughout the show of how much we all enjoyed “Chicago.”

Thanks, guys, but we kind of took care of praising “Chicago” when it won Best Picture in 2002.

The Oscars are always a treasure trove of hilarious narcissism – it’s inherently obnoxious to hear some of the richest and best-looking people alive praise one another and themselves.

This year had plenty of the usual silliness – as when best supporting actor Christoph Waltz praised Quentin Tarantino for going on a “hero’s journey” to make films. And it won’t exactly reduce Hollywood’s sense of self-importance that no less than Michelle Obama handed out the Best Picture. (“Argo” won.)

Inflated egos are to be expected. But we can usually count on the producers and host to share the spotlight. Not so this year.

You can’t really blame MacFarlane for turning the opening into a “Family Guy” episode, with all of his show’s requisite pop culture references, parody songs and gay panic jokes. MacFarlane brought in William Shatner to play Captain Kirk critiquing the show from the future.

The “Ted” director and star made it all of eight minutes before his first gay joke. He sang a song about actresses’ “boobs” with the Gay Men’s Chorus of Los Angeles, then clarified that he isn’t a member.

“Oh, trust me,” Captain Kirk said from the future. “In July 2015, you join the chorus.”

The theme of the night was celebrating musicals, but it was hard to find anything else consistent about the ceremony. Like many an overstuffed blockbuster, the three-and-a-half-hour show refused to leave anything out.

Studio slates are so dominated by CGI monstrosities that Oscar voters now nominate pretty much every grown-up movie they see for Best Picture. Rather than make hard decisions, they give us a grab bag.

And so we get extended ceremonies like this one, which somehow always manage to cull names from the “In Memoriam” segment, but not boring parts of the show. Key figures like the host and producers are allowed to protect their vanity pieces, and viewers just have to deal.

We were occasionally rewarded for our patience. Shirley Bassey and Adele gave spectacular performances of Bond songs from five decades apart. Jennifer Hudson delivered another excellent rendition of “And I Am Telling You I Am Not Going” from “Dreamgirls.” And we learned that Channing Tatum and Charlize Theron are good dancers.

But of course they are.

Catherine Zeta Jones did a commendable job on “All That Jazz” from “Chicago” – but couldn’t we have left it at that? The producers also reunited their cast as presenters – to remind us once again how much we apparently still cherish their decade-old film.

Near the end of the ceremony, Tarantino made his hero’s journey to the stage to accept his well-deserved award for Best Original Screenplay and remind us of the importance of writers.

One thing the best writers do is keep it short. Maybe next year should be a tribute to writers.

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UK’s BRIT Awards slammed as celebration of bland

LONDON (Reuters) – “Sensible” and “sober” are words not normally associated with rock and roll, but they summed up how music critics viewed Wednesday night’s BRIT Awards ceremony at the London O2 Arena.

Viewing figures for commercial broadcaster ITV1, which aired British pop’s biggest night live, were the highest for a decade, so organizers, advertisers and the acts who performed were unlikely to care too much about what experts thought.

Gordon Smart, showbusiness editor at the Sun tabloid, summed up the mood, writing: “Well, rock’n'roll is officially dead. Where have all the rock stars gone?”

The big winner on the night, one that was widely predicted, was Scottish singer-songwriter Emeli Sande, who picked up the coveted British album award for “Our Version of Events”, her debut which was the UK’s top seller of 2012.

She also won the best British female honor, and English singer Ben Howard was the only other multiple winner, claiming the male solo artist and breakthrough categories.

“Welcome to the new boring,” said Daily Telegraph music critic Neil McCormick, describing Howard, Sande and other winners Mumford & Sons (best group) and One Direction (BRITs Global Success Award).

“All – to different degrees – extremely talented, vibrant, emotional, committed, entertaining musical performers beloved of enormous audiences,” he wrote. “And all as dull as dishwater.”

He concluded his review with a rallying cry: “I just hope there is some young punk out there, watching that, thinking the music business needs a right royal kick up the posterior.”

CASH BEFORE CUTTING EDGE

The BRITs have long had a reputation for putting commercial success above artistic originality, and 2013 was no exception.

Will Hodgkinson of The Times newspaper said the lack of spark at the glitzy ceremony perhaps reflected broader economic and social concerns in Britain.

“When times are hard people behave well and hang on to their jobs, which is why the high jinks and chaos of the past, like Jarvis Cocker wiggling his bum at Michael Jackson, was sadly absent,” he said.

In one of the most frequently recalled moments of BRITs history, Cocker invaded the stage while Jackson was performing in 1996 before being escorted away by security.

Even last year had a frisson of controversy, when Adele’s speech was cut short to make way for Blur to perform, prompting her to raise her middle finger.

Adele picked up another award in 2013 – best single for Bond theme tune “Skyfall” – but she did not attend, preferring to rehearse for her upcoming performance at the more widely viewed Oscars ceremony on Sunday.

Nick Hasted, writing in the Independent, said what was most “depressing” about the BRITs was how they were dovetailing with other awards like the Mercury Prize and the BBC’s “Sound of…” poll identifying up-and-coming talent.

“As it shrinks, the music industry is becoming ever more adept at controlling what enters the mainstream,” Hasted said. “The moribund album charts, lacking inspiration and challenge, show how well they’ve succeeded.”

Critics did have more positive things to say about many of the performances, which included Justin Timberlake and Taylor Swift from the United States and Sande, Howard, Mumford & Sons, One Direction, Muse and Robbie Williams from Britain.

And there was good news on the TV viewing front. According to the Guardian, the average audience was just over 6.5 million, a 27.8 percent share and the highest since 2003.

(Reporting by Mike Collett-White; editing by Stephen Addison)

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“Silver Linings” wins four honors at indie film awards

SANTA MONICA, California (Reuters) – Quirky comedy “Silver Linings Playbook” dominated the Independent Spirit Awards on the eve of Hollywood’s Academy Awards ceremony, winning four prizes including for Best Feature.

Jennifer Lawrence, 22, who plays a feisty young widow in “Silver Linings Playbook,” was named best actress and David O. Russell picked up the best directing honor on Saturday.

Lawrence and Russell are also in the running for Oscars on Sunday, where “Silver Linings Playbook” is nominated for Best Picture.

“When you make a film from the heart, there is no such thing as genre. They are just real people, and if it’s funny in or of itself, that’s what happens and that’s what my whole cast taught me,” Russell said in accepting his award.

Austrian drama “Amour,” about an elderly couple coping with the effects of the wife’s debilitating stroke, won the Best Foreign Film award on Saturday, strengthening its march toward expected Oscar success on Sunday.

The Independent Spirit Awards are handed out by the Los Angeles-based non-profit group Film Independent and are widely considered the top honors for low-budget and art house movies in the United States.

The ceremony, held in a tent on California’s Santa Monica beach, are a more laid-back affair than the formal and glitzy Academy Awards ceremony. Bruce Willis, Salma Hayek, Jeremy Renner, Daniel Radcliffe, Amy Poehler and other celebrities were treated to a casual lunch.

The awards for “Silver Linings Playbook” largely shut out rival fantasy movie “Beasts of the Southern Wild,” which won one award for cinematography but lost in three other categories.

First-time director Benh Zeitlin, 30, had been considered a front-runner at the Spirit Awards for the mythological film, set in a Louisiana swamp.

“Benh Zeitlin is a young man, so Benh Zeitlin will be back,” Russell quipped on stage.

“Amour” director Michael Haneke, 70, who also won honors at the Cesar Awards in France on Friday, was on hand to accept his award on Saturday. “I have the impression I’m the oldest man here,” he joked.

Backstage, the veteran German director told reporters through a translator that he was looking forward to the Oscars, where “Amour” is a contender in five categories including for Best Picture.

“I feel wonderful. It’s a complete surprise of course. No one expected that a film with themes like aging and death would have such success. It’s been very rewarding for everyone involved,” Haneke said.

Helen Hunt was named Best Supporting Female for her role as a sex therapist in “The Sessions,” while her co-star John Hawkes, who plays a paraplegic, took the Best Male Lead award.

Backstage, Hawkes told reporters that the role was a physical challenge, but worth it.

“Anytime people notice your work, it gives you more confidence,” Hawkes said.

“The Invisible War,” an insight into rape and sexual assault in the U.S. military, won the Best Documentary award.

Amy Ziering, one of the film’s writers, made an emotional acceptance speech, telling service members “you are heard. You are not alone and you are no longer invisible.”

Matthew McConaughey was a winner for his supporting role as a male stripper in comedy “Magic Mike.” The actor, who has enjoyed the biggest critical success in his career for the film, accepted the trophy saying, “I had to take my pants off to win an award.”

(Reporting By Piya Sinha-Roy, Editing by Jill Serjeant and Paul Simao)

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Jay-Z, Timberlake perform at first London Olympic park concert

LONDON (Reuters) – Rapper Jay-Z will return to the London Olympics site this summer where he performed at the 2012 Paralympics as the sporting complex takes on a new life as the Queen Elizabeth Olympic Park.

Justin Timberlake and Jay-Z were named on Tuesday by live music promoter Live Nation Entertainment as headline acts for the Wireless Festival on July 12 and July 13.

Other acts will include Snoop Dogg, John Legend, Frank Ocean, Emeli Sande, Rita Ora, and DJ Calvin Harris.

Last month Live Nation said it had secured exclusive rights in 2013 to host concerts in the Olympic Park and Stadium complex in east London that was designed so it could be transformed into a space for entertainment, leisure and work after the Games.

The announcement was a boost for the British government which pumped public money into the London 2012 Games, adamant the Olympic site would not become an expensive white elephant.

“This is a stellar line up of stars that is set to bring the house down this summer at Queen Elizabeth Park London. It proves that our fantastic Olympic park is now a destination of choice for world class musical events,” London Mayor Boris Johnson said in a statement.

Live Nation said this would be Jay-Z’s only European show this year and Timberlake’s sole British festival appearance.

Earlier this month the two U.S. singers appeared together at the Grammys to perform their collaboration “Suit & Tie” off Timberlake’s first new album in seven years that is due out on March 18.

Live Nation plans to hold the Wireless Festival and Hard Rock Calling events at the Queen Elizabeth Olympic Park and avoid a repeat of previous years when the concerts were staged in London parks and triggered complaints from nearby residents.

Concert-goers were surprised in July when microphones were suddenly switched off on Paul McCartney and Bruce Springsteen in mid-duet when a Hyde Park concert ran over time.

(Reporting by Belinda Goldsmith, editing by Paul Casciato)

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Fergie, Josh Duhamel expecting their 1st child

NEW YORK (AP) — Her hump, her hump, her lovely lady lump: Fergie is pregnant with her first child.

A representative for the Black Eyed Peas singer confirmed the news Monday. Fergie’s actor husband Josh Duhamel tweeted about the news with joy, saying: “Fergie and Me and BABY makes three.”

The 37-year-old Fergie and 40-year-old Duhamel married in 2009. She joined the Black Eyed Peas when the group released its third album, “Elephunk,” in 2003. The foursome is known for its pop-inspired hip-hop tunes like “My Humps,” ”I Gotta Feeling” and “Boom Boom Pow.”

Fergie launched her solo debut, “The Duchess,” to much success in 2006. It featured five Top 5 hits, including “Fergalicious” and “Big Girls Don’t Cry.”

Duhamel has appeared in the “Transformer” films and most recently in “Safe Haven.”

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Record sales double for Grammy performers, young and old

LOS ANGELES (Reuters) – Grammy performers did not go home with just trophies last weekend. Winning bands like indie-pop trio fun. and British folk band Mumford & Sons saw sales of their singles and albums more than double after appearing on the music industry honors show.

Sales figures released on Friday by Nielsen showed a 182 percent increase in sales of fun.’s hit single “We Are Young” following their Song of the Year and Best New Artist Grammy victories on Sunday.

Album of the Year winner’s Mumford & Sons saw sales of its “I Will Wait” single shoot up 116 percent, while Australian artist Gotye’s “Making Mirrors” album from 2011 increased 124 percent from the week before the annual music telecast.

Rising R&B star Frank Ocean, who took home two Grammys, saw sales of his album “Channel Orange” climb 140 percent.

The numbers mostly reflect a single night of sales increases from the prior week, predominantly digital downloads, immediately following the Grammy Awards show in Los Angeles on February 10.

Sales figures for the full week will be released as usual by Nielsen SoundScan on Wednesday and will include both digital and physical album sales.

Grammy winners were not the only ones to benefit from the annual music industry showcase.

Veteran rockers The Band saw its greatest hits package climb 203 percent after a multi-artist tribute at the show to late drummer Levon Helm.

Sales of “Take Five,” the distinctive 1959 tune by jazz pianist Dave Brubeck who died in December, shot up 248 percent after a tribute by fellow jazz musicians Chick Corea, Stanley Clarke and Kenny Garrett, according to Nielsen.

The Grammys also proved a boost for the blossoming career of 26 year-old southern California artist Miguel. After performing his single “Adorn” on the show, sales rose 229 percent compared with the week prior.

Mumford & Sons, Frank Ocean, Gotye and The Band record on labels owned by Universal Music Group; the music of Miguel and the late Dave Brubeck is released by units of Sony Music, and FUN. is signed to record label Fueled by Ramen, a unit of privately-held Warner Music.

(Reporting by Jill Serjeant; Editing by Marguerita Choy)

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Quirky comedy film “Prince Avalanche” charms Berlin

BERLIN (Reuters) – Cinema has a new odd couple in “Prince Avalanche“, a low-budget film set in the remote, fire-ravaged forests of Texas and starring Paul Rudd and Emile Hirsch as an unlikely pair of workers painting markings on a seemingly endless road.

The tedium of their work allows space for them to argue, bicker, compete and bond in David Gordon Green‘s oddball remake of a 2011 Icelandic movie called “Either Way”.

In competition at the Berlin film festival, where it premieres on Wednesday, “Prince Avalanche” has received mostly warm reviews, with the Hollywood Reporter calling it an “odd little gem of a movie”.

Green, best known for stoner comedy “Pineapple Express”, took an unusual approach to making the film: he decided to adapt an Icelandic picture even before he had seen it.

“I watched the film for the first time really with the intension of remaking it, which is really strange,” he told reporters in Berlin.

He set the action in the late 1980s rather than today, because it allowed him to cut his characters off completely from an outside world with no Skype, mobile phones or iPads – generally a time when “things were more pleasant.”

LOVE-HATE RELATIONSHIP WITH NATURE

For Hirsch, there were parallels with his most famous role to date in Sean Penn‘s 2007 “Into the Wild” in which he plays Christopher McCandless, who turns his back on society and wanders into the Alaskan wilderness.

In “Prince Avalanche” his character Lance is just the opposite – a young drifter who hates being away from the buzz of the city and the company of his girlfriends.

“I love shooting in nature, that’s for sure, but I think because I’m so identified with the part in ‘Into the Wild’ I like the idea of playing a character that didn’t really like nature and hated to be alone from the beginning,” he said.

“I certainly love nature and I love being in the wilderness, but I was raised in Sante Fe, New Mexico but also in Los Angeles, California.”

Green rushed to shoot the movie, which took just 16 days to film, in order to capture the devastation caused by a 2011 wildfire at Bastrop State Park.

He kept his crew to a minimum – no more than 10 people on set at any time – and allowed the actors to improvise.

The barren landscape, which was quickly recovering its color and vitality, was captured by Green’s regular director of photography Tim Orr.

Rudd, best known for comic roles and most recently starring in “This is 40″, plays Alvin, the boyfriend of Lance’s older sister who is introverted, serious and constantly seeking to better himself, including learning German using a language tape.

By contrast, Lance hates sleeping in tents, hunting for food and painting roads, and can’t wait for the weekend when he can get back to civilization.

Gradually the two misfits begin to get along, helped by Alvin’s personal crisis and a crate of hooch left by a mysterious old truck driver played by the late character actor Lance LeGault, to whom the movie is dedicated.

(Reporting by Mike Collett-White, editing by Paul Casciato)

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Ryan O’Neal wins appeals ruling in defamation case

LOS ANGELES (AP) — Ryan O’Neal may have enough evidence to show that he was defamed by a man who claimed the actor stole a valuable portrait of the late Farrah Fawcett, an appeals court ruled Thursday.

A divided panel of the 2nd District Court of Appeal ruled that O’Neal’s case against Craig Nevius, a former Fawcett associate, should be allowed to proceed and that the actor may be able to win some damages. One justice disagreed and wrote that the case should be dismissed.

O’Neal sued in July 2011, claiming he was defamed by Nevius‘ comments that the actor had stolen a Fawcett portrait created by Andy Warhol. The painting is the subject of a separate lawsuit between O’Neal and the University of Texas, which claims Fawcett left the artwork to the school after her 2009 death.

Nevius’s attorney, Lincoln Bandlow, said he would appeal the ruling to the California Supreme Court. He had appealed a lower court’s ruling allowing the case to go forward.

O’Neal’s suit seeks more than $ 1 million in damages. He claimed in the case that Warhol gave him the portrait and he intends to bequeath it to his only son from his longtime relationship with Fawcett, Redmond O’Neal.

Nevius’ comments that O’Neal stole the artwork were made in interviews with Star magazine and “Good Morning America,” and he cooperated with UT investigators searching for the portrait.

Although Nevius initially denied he accused O’Neal of stealing the painting, he acknowledged in a later court filing that he made the claim to university investigators.

“The inferences reasonably drawn from the evidence here would support a jury’s finding that Nevius harbored strong ill-feelings toward O’Neal,” the justices siding with O’Neal wrote. The dissent argues that Nevius’ comments were constitutionally-protected speech and the case should have been dismissed.

O’Neal’s fight with UT over the portrait returns to court on Feb. 27.

The actor and Nevius have battled in court for years.

Nevius collaborated on a documentary of Fawcett’s fight with cancer but sued the actor claiming he interfered in the project and removed him from it shortly before Fawcett’s death. The case was dismissed before trial.

___

Anthony McCartney can be reached at http://twitter.com/mccartneyAP

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Universal dates mystery Illumination movie for 2015

NEW YORK (TheWrap.com) – Universal Pictures announced Tuesday that it will release a new movie from “Despicable Me” producer Illumination Entertainment July 4 weekend in 2015. The studio would not disclose anything else about the movie, which will be Illumination’s sixth feature film since Chris Meledandri founded it in 2007.

However, we can tell you what it will and won’t be. It will be an original, animated movie, a spokesman for Meledandri and Universal told TheWrap. That means it won’t be the reboot of the Grinch that Illumination and Universal are cooking up.

In its ambiguous Monday announcement, Universal said the new Illumination movie will be released in 3D, and the studio’s new spin on the iconic Dr. Seuss character will also be a 3D feature. Still, “original” crosses off Grinch.

It also won’t be a live-action film, Meledandri’s spokesman said. Though Universal has said Illumination will, at some point, make a live-action movie, the only such project the production company has kicked around is a Dr. Seuss biopic.

Illumination has an exclusive financing and distribution deal with Universal, and thus far has made “Despicable Me,” “The Lorax” and “Hop.” The company has two more projects on deck before this untitled feature: the sequel to “Despicable Me,” due out July 3, and a spin-off of that franchise, “The Untitled Minions Project,” due out in 2014. This new movie won’t be “Despicable Me” related, Meledandri’s spokesman said.

So what will it be? Stay tuned.

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The Smiths guitarist Johnny Marr crowned NME Genius

LONDON (Reuters) – Guitarist and songwriter Johnny Marr who made his name with cult British rock band The Smiths in the 1980s was named on Tuesday as the winner of this year’s NME Godlike Genius Award.

Marr, 49, founded The Smiths with Morrissey in 1983 and the two musicians co-wrote the band’s songs for four albums before going their separate ways in 1987.

The guitarist has also played with Billy Bragg, The Pretenders, The The, Modest House and The Cribs, and has led his own band, Johnny Marr and The Healers, for over a decade.

Marr will collect the award on February 27 when the music magazine holds its annual prize ceremony in London — two days after he releases his debut solo album “The Messenger”.

“The NME seems to be good at giving this award to people I like so I’m in good company. I guess it means that some things are alright with the world,” Marr said in a statement.

NME editor Mike Williams said Marr had played a role in rewriting the history of music with The Smiths.

“He’s continued to push boundaries and evolve throughout his career, working with some of the best and most exciting artists on the planet,” said Williams.

Previous winners of the NME Godlike Genius Award include The Clash, Paul Weller, The Cure, Manic Street Preachers, New Order & Joy Division, and Dave Grohl. Last year’s winner was Noel Gallagher.

NME awards are handed out in 22 categories with music fans casting votes.

This year four acts have received four nominations including the Rolling Stones, LA sisters Haim, Australian rock band Tame Impala and British alternative hip hop artist M.I.A.

(Reporting by Belinda Goldsmith, editing by Paul Casciato)

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Taylor Swift kicks off Grammys, Adele wins best pop solo award

LOS ANGELES (Reuters) – Country-pop singer Taylor Swift brought the circus to the Grammy stage on Sunday, kicking off the annual awards with a lively performance and British singer Adele picked up the show’s first award.

The Black Keys, Skrillex and Gotye started the night strong, each picking up multiple awards prior to the televised ceremony.

The 55th Grammy Awards will hand out their gramophone-shaped trophies in more than 80 categories, but only a handful of winners are announced during the three-hour live telecast airing on CBS. More than 60 categories were announced prior to the televised show.

The top categories are dominated this year by male artists, with British folk band Mumford & Sons, indie-pop trio FUN. and R&B singer Frank Ocean going into the show with six nominations each, including Album of the Year.

Swift kicked off the live telecast dressed as a ringmaster with a circus-themed performance of her infectious chart-topping hit “We Are Never Ever Getting Back Together,” backed by dancers in jester and acrobat costumes.

The 23-year-old singer picked up an early Grammy for her collaboration with T-Bone Burnett and The Civil Wars on the song “Safe and Sound” from “The Hunger Games” movie soundtrack.

Britain’s Adele, 24, who swept the Grammys with six major awards last year, landed another this year for Best Pop Solo Performance for her live rendition of “Set Fire to The Rain.”

The singer recognized the other female nominees in the audience, saying, “We work so hard, we make it look so easy.”

Presenting the award, rapper Pitbull joked that Jennifer Lopez, who joined him onstage in an asymmetric dress with a daring slit up to the top of her thigh, “inspired the memo,” referring to an advisory issued by CBS asking all performers and presenters to keep their breasts, buttocks and genitals covered.

VETERANS AND NEWCOMERS

The Grammys have a reputation for pairing up old-timers and newcomers, and this year had several collaborations.

Veteran Elton John took the stage with rising British star Ed Sheeran, 21, to sing a stripped down duet of “The A Team,” Sheeran’s song for which he’s nominated in the Song of the Year category.

One of the night’s leading nominees, New York indie-pop trio FUN., lived up to their name with a performance of “Carry On,” while rain fell on stage, soaking the band as they played.

The band, which received six nominations, was the only act to be nominated in the top four categories of Album, Song and Record of the Year and Best New Artist.

Rockers The Black Keys, formed by Dan Auerbach and Patrick Carney, started the night strong, picking up two Grammys – Best Rock Album for “El Camino” and Best Rock Song for “Lonely Boy.” Auerbach was also named the Producer of the Year in the non-classical category.

The band went into the night with five nominations, including top categories Album of the Year and Record of the Year.

British folk band Mumford & Sons went into Sunday’s awards with a leading six nominations. They picked up one win for Best Long Form Music Video for “Big Easy Express,” a collaboration with Edward Sharpe and the Magnetic Zeros, and Old Crow Medicine Show.

Australian singer Gotye, 32, picked up two Grammys for Best Alternative Album for “Making Mirrors” and Best Pop Duo/Group Performance for “Somebody That I Used To Know” featuring Kimbra.

DJ Skrillex, 25, who won three Grammy awards last year, picked up three more, including Best Dance/Electronica Album for “Bangarang.”

Jay-Z and Kanye West picked up two awards, Best Rap Performance and Best Rap Song for their collaboration “N****s in Paris.” Jay-Z’s wife, Beyonce, won Best Traditional R&B Performance for “Love on Top.”

(Additional reporting by Nichola Groom and Sue Zeidler; Editing by Jill Serjeant, Peter Cooney and Stacey Joyce)

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Grammys pay tribute to Shankar, King, Temptations

LOS ANGELES (AP) — Ravi Shankar passed away in December before he could attend The Recording Academy‘s Special Merit Awards celebration where he was to receive a lifetime achievement award. But the 91-year-old sitar master, Indian music promoter and friend to The Beatles got the call a few days before he passed away, and that meant everything to his family.

“I was very excited to hear about the lifetime achievement award a week before my dad passed away, one day before he went into surgery,” Shankar’s daughter, Norah Jones, said in an email to the Associated Press a few hours before the ceremony. “He knew about it and was very happy, and also that he and my sister, Anoushka, were both nominated in the same category for a Grammy (this year) was a special thing as well. We all miss him and are very proud of him. I will forever be discovering and re-discovering his music from all walks of his long and amazing life.”

Jones and Anoushka Shankar‘s acceptance of their father’s award Saturday afternoon at the Wilshire Ebert Theatre in Los Angeles was one of many memorable moments in the ceremony honoring performers and non-performers alike.

The crowd made a happy birthday video for Carole King, saluted husband-and-wife songwriters Marilyn and Alan Bergman on their 55th anniversary, and swooned as Charlie Haden paid tribute to his wife and family.

Shankar, singer-songwriter King and jazz bassist Haden were honored with lifetime achievement awards along with classical pianist Glenn Gould, who made his final public performance in the same theatre, blues guitarist Lightnin’ Hopkins, The Temptations and pop singer Patti Page, who like Shankar passed away in the last two months.

Special merit awards also were handed out to non-performers. Chess Records founders Philip and Leonard Chess, husband-and-wife songwriters Marilyn and Alan Bergman, and former Capitol Records executive Alan Livingston won the Trustees Award given to non-performers. And MIDI developers Ikutaro Kakehashi and Dave Smith and ribbon microphone manufacturer Royer Labs won technical Grammys.

Haden noted the importance of his family in his acceptance speech.

“I thank my brother Jim for letting me listen to his jazz records,” Haden said. “I heard Charlie Parker and that changed my life forever.”

For King, it was James Taylor who sent her down a new path. She noted in her video message he forced her to get up and sing one of her own songs in concert when she really didn’t see herself as a performer: “I guess he was right.”

The Bergmans, who wrote “The Way We Were,” turned in a romantic acceptance speech, adding another special moment to a partnership that produced some of our most well-known songs.

“I just want to say this in public: I’m married to the most remarkable woman in the world,” Alan Bergman said.

“Oh, cut it out,” Marilyn Berman responded.

___

Follow AP Music Writer Chris Talbott at http://twitter.com/Chris_Talbott .

___

Online:

http://www.grammy.com

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Humble Damon cheers Oscar hopeful, friend Ben Affleck

BERLIN (Reuters) – It seems that wherever Matt Damon goes to promote his movies he is asked about something else altogether – his old friend and collaborator Ben Affleck, whose Iranian hostage drama “Argo” is in the running for a Best Picture Oscar.

Damon shared a screenplay Academy Award with Affleck for the 1997 film “Good Will Hunting” and has gone on to become one of the biggest stars in Hollywood, with blockbusters including the “Ocean’s Eleven” and “Bourne Identity” series.

He was in Berlin on Friday for the festival premiere of “Promised Land”, a tale set in rural America that tackles the controversial gas extraction technique known as “fracking”.

At a news conference following the press screening, the 42-year-old did not have to wait long for a question about Affleck, and, once again, he lavished praise on an actor who he said had endured his share of tough times.

“His life is so interesting that I kind of never get tired of talking (about it),” Damon joked.

Of the critical acclaim and string of awards for “Argo,” he said: “I’m really happy for him. He certainly deserves it.”

“He’s worked so hard and he’s taken it on the chin for years from the press and just from everywhere. He was really in a rough spot 10 years ago,” Damon told reporters, referring to the ridicule Affleck suffered during his romance with Jennifer Lopez and their 2003 movie flop “Gigli.”

The actor recalled Affleck once telling him he was “in the worst place you could be career-wise: I sell magazines and I don’t sell movie tickets’.”

Damon singled out some “fantastic” performances by Affleck in recent years: “Hollywoodland,” “The Town” and “Argo” itself, the last two of which he also directed.

He would not, however, be drawn on the chances of “Argo” landing the big prize at the Oscars on February 24.

PROMISED LAND “BOMBS”

Less successful has been “Promised Land,” which Damon readily admitted had “bombed” in the United States. It opens across Europe in February, March and April.

According to Boxofficemojo.com, the movie earned just $ 7.6 million at the North American box office.

“I’m leery of becoming one of those people who lives so much in a bubble that I just think everything I do is great,” he said. “I try to be mindful of that and listen.

“I’ve had a lot of movies that … haven’t been well received by an audience and I’m realistic about that, but with this one I just really love it and a big part of my heart is in it and I don’t understand what I’m hearing back.”

He said it was possible that “Promised Land,” also starring Frances McDormand and directed by “Good Will Hunting” filmmaker Gus Van Sant, would be appreciated more in the future.

“I’ve had movies bomb worse than this one and then actually make their money back.”

“Promised Land” is one of 19 movies in the main competition at the Berlin film festival running from Thursday to February 17.

Also screening on Friday were Polish entry “In the Name of” and Austrian director Ulrich Seidl’s “Paradise: Hope,” the final part in a trilogy looking at the lives of a single family, in this case an overweight teenager sent to a diet camp.

(Reporting by Mike Collett-White, editing by Jill Serjeant and Doina Chiacu)

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California boy to be arraigned in “swatting” prank on actor Kutcher

LOS ANGELES (Reuters) – Prosecutors charged a 12-year-old boy on Thursday with making a false emergency call that sent police swarming to the home of actor Ashton Kutcher in a “swatting” prank.

The name of the boy, who was arrested by Los Angeles police in December, was withheld due to his age. He was scheduled to be arraigned in a juvenile court in Los Angeles on Friday.

The trend toward placing false emergency calls is known as “swatting” because SWAT (Special Weapons and Tactics) officers often are sent to the purported crime scenes. Authorities say such situations can be dangerous due to the risk of a misunderstanding between police and occupants of a building.

The boy has been charged with two felony counts each of making false bomb threats and computer intrusion in connection with the October 3 emergency call that drew police to the Hollywood Hills home of Kutcher, star of the sitcom “Two and a Half Men,” and a similar call on October 10 that sent police to a Wells Fargo Bank.

Authorities have accused the boy of having reported men armed with guns and explosives in Kutcher’s home and that several people had been shot. Dozens of emergency personnel were sent to the house. Kutcher was not home at the time.

Swatting calls in recent months have also sent police to the homes of singers Justin Bieber and Miley Cyrus.

(Reporting by Alex Dobuzinskis; Editing by Bill Trott)

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How Ang Lee Took a Tiger by the Tail to Create ‘Life of Pi’

LOS ANGELES (TheWrap.com) – It would have been foolish to predict what “Life of Pi” – has become: a box-office phenomenon that has swept one country after another, a game changer in its use of 3D and computer graphics and a critical darling with 11 Oscar nominations including best picture, director, screenplay, cinematography and two for composer Mychael Danna.

“It still comes as a surprise,” director Ang Lee told TheWrap. “But a wonderful surprise. For a long time I felt that it’s a privilege to even make this movie. So we’re very happy.”

Everything about “Life of Pi,” based on the bestselling novel by Yann Martel, represented an uncommon risk. A pensive drama without a single movie star or, for that matter, a face vaguely familiar to American audiences, the project cost $ 130 million, highly unusual in today’s Hollywood. (Even “Les Misérables” cost just $ 60 million.)

Further, the movie takes place almost entirely on the ocean, in 3D and with a CG tiger, factors that required technological machinations not guaranteed to work. Beyond that, given its ponderous price tag, the movie had to appeal to a very broad audience to pay off.

And it has. An uplifting story about the survival of the human spirit and the power of imagination, “Life of Pi” has been embraced across cultures and nations around the globe, with the movie setting new benchmarks in China, sweeping Latin America and taking in $ 450 million worldwide while still in release.

“The pattern of how this movie plays is kind of strange. I’ve never experienced it before,” Lee said of “Pi’s” overwhelming international appeal. “It was made to be a big movie, with lots of commercials everywhere. But it’s a philosophical movie – an Indian boy, a digital tiger, an ambiguous ending. I didn’t know if it would work or not.”

The novel tells the story of a shipwrecked Indian boy, Pi, adrift on a lifeboat with a Bengal tiger, and adds a twist at the end to make you question everything you’ve read. “Pi’s” journey to the screen took the better part of a decade and began conventionally enough. Producer Gil Netter sent Fox 2000 veteran producer Elizabeth Gabler the book shortly after it was published, and they optioned it for Fox in 2002.

She commissioned a script from Dean Georgaris for director M. Night Shyamalan, but Georgaris never completed it. Director Alfonso Cuaron (“Children of Men”) signed on and then left. Jean-Pierre Jeunet (“Delicatessen”) picked up the project, then he dropped out, too.

Finally she approached Lee, whom she’d admired for years. “He told me I was crazy,” Gabler said. “I told him he had to do it.”

The problem was, most people considered the story of young Pi to be unmakeable.

You couldn’t film it with real tigers. Could a computer-generated tiger be believable? For Lee, who was revered for such movies as “Brokeback Mountain” and “Sense and Sensibility,” but who had also learned a lot making the tech-heavy but unsuccessful “Hulk,” the impossibility of the challenge was part of the appeal.

“That’s a small part,” he confessed. “That’s ego. But that’s not a good enough reason. Artistically, it’s a philosophical book. The movie has an unfriendly ending. It pulls the rug out from the audience’s feet. Your attention is mandatory.”

And those difficulties, to Lee, were irresistible. “It’s challenging, but it’s a thrill. If you can do it, you can swagger around. When people say, ‘How the hell did you do that?’ there’s a certain amount of satisfaction.” The night before Lee spoke to the TheWrap, he had been at a critics’ award ceremony where he was approached by Steven Spielberg. “He said to me, ‘I tried to figure out how you do that,’ Of course, that’s nice!”

But back to the movie: Lee dove into making the story his own, conducting intensive research on tigers and computer graphics, and investigating the logistics of creating a set where the ocean would seem like a real character. He decided to do the film in 3D. The price continued to rise – and with it the anxiety of then-Fox chairmen Jim Gianopulos and Tom Rothman.

Gabler recalled: “Tom and Jim said, ‘We can’t make this movie. It’s too risky. Give it back to him.’” Lee got on a plane to Los Angeles. At a meeting with the studio chiefs, he showed an animated mock-up of the shipwreck scene, complete with swimming zebras. And he showed them a 12-minute tape of an unknown actor, Suraj Sharma, reciting the monologue from the end of the movie: Pi, in a hospital bed, recounting an alternative, grisly fate that could have befallen the survivors of a shipwreck. “When we saw it, the lights came up, and they said OK,” said Gabler.

So the studio, in Lee’s words, “sweated it out” with him over four years, gambling on the notion that the film just might be the international hit it would have to be to make back Fox’s investment.

The time included three months of rehearsal with the inexperienced Sharma and another seven months shooting. The Taiwanese government gave favorite son Lee an abandoned airport where the filmmakers built a series of soundstages, saving the production millions.

One studio was used to build a massive water tank, where the challenge was to simulate the waves of a vast ocean and not see the water that bounced off the sides of a tank. They built 12 machines to suck in water and shoot it out, creating two-story waves and endless ripples.

The time included three months of rehearsal with the inexperienced Sharma and another seven months shooting. The Taiwanese government gave favorite son Lee an abandoned airport where the filmmakers built a series of soundstages, saving the production millions.

One studio was used to build a massive water tank, where the challenge was to simulate the waves of a vast ocean and not see the water that bounced off the sides of a tank. They built 12 machines to suck in water and shoot it out, creating two-story waves and endless ripples.

As for Sharma, Lee took the 17-year-old novice under his wing, teaching him method acting and guiding him in yoga practice. The two became inseparable, and Sharma watched as Lee increasingly took on the qualities of the character Pi.

“He himself is a very intense person,” Sharma told TheWrap. “Ang moved toward Pi right through the movie. It was really intense. And in many ways I feel like he was a little like Pi; the way he thinks is similar. The aura is similar. He has that similar patience with things but a certain perseverance to it. But nice at the same time – I can’t explain it. It’s the way his back is bent … Ang is a lot like his work. It’s very simple from the outside but it has a lot of complexities on the inside. Kind of like Pi.”

For Lee, the result was one that both exhausted and exhilarated him. The story of Pi, he says, is the story of the essence of filmmaking.

“It’s a project that examines illusion. The power of storytelling. The importance of illusion – is it more real than what we can prove?” he reflected.

“I’m a storyteller. I create illusions. I believe in that more than in things I can touch. And this gets to the bottom of it all.”

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Meryl Streep, Jean Dujardin returning to the Oscars

LOS ANGELES (TheWrap.com) – Three-time Oscar winner Meryl Streep will likely get to induct Daniel Day-Lewis into that triple-Oscar club on February 24 at the Dolby Theatre, while “The Sound of Music” star Christopher Plummer will probably hand the Best Supporting Actress award to a new screen-musical star, Anne Hathaway.

Those are two conclusions to be drawn from the Academy’s Tuesday announcement that last year’s acting winners, Streep, Plummer, Jean Dujardin and Octavia Spencer, will return to serve as presenters on this year’s Oscar telecast.

Streep won her third Oscar for “The Iron Lady,” while Dujardin, Spencer and Plummer won their first for “The Artist,” “The Help” and “Beginners,” respectively.

The previous year’s Best Actor and Best Supporting Actor winners typically present the Best Actress and Best Supporting Actress awards, and vice versa. And the immediate past winners are traditionally the first Oscar presenters to be announced.

So far, Oscar show producers Craig Zadan and Neil Meron have announced a number of musical participants, including Barbra Streisand, Norah Jones and a tribute to musicals of the past 10 years.

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Robert De Niro cements place in Hollywood movies

LOS ANGELES (Reuters) – Double Oscar winner Robert De Niro cemented his place in acting history on Monday by placing his hands and feet in concrete in front of Hollywood‘s historic Chinese Theatre.

De Niro, 69, gave a short thank you speech with a few punchlines of his own.

“(Actor) Joe Pesci always said I’d end up with my feet in cement. I don’t think this is what he had in mind,” said De Niro, referring to the many gangster movies he has filmed over his 40-year career.

“They say everyone in the film industry has three homes – the home where they live, the home where their first wife lives, and Hollywood. I love New York, and I’m proud to be a citizen of Hollywood. Thank you for this honor and thank you for making me feel at home here,” he said.

De Niro, who founded the Tribeca Film Festival in 2002 in a bid to revive lower Manhattan after the September 11, 2001, attacks, is in the running for a third Oscar this month for his supporting role in comedy “Silver Linings Playbook.”

Billy Crystal, who played therapist to De Niro‘s insecure mob boss in the 1999 film “Analyze This,” praised the New York actor for his ability to bridge comedies like “Meet the Parents” and dramas such as “GoodFellas” and “Taxi Driver.”

“Even in his darkest performances, even in ‘Raging Bull‘ … he could make you laugh, and that he did in spades in ‘Analyze This.’ … I’m not used to playing straight for anybody, but it was a thrill of a lifetime to be on the opposite side of that genius,” Crystal said.

“Silver Linings Playbook” director David O. Russell praised De Niro‘s sensitivity in taking on the role of the father of a bipolar son in the movie.

“When we first read the script together he cried because he has known people who struggled with PTSD or bipolar disorder. … Many families are no stranger to these challenges and they have to find the magic and the love that Bob brought in his soul, and he did bring his soul to this movie,” Russell said.

De Niro won Oscars for his lead role in “Raging Bull” and his supporting turn in “The Godfather: Part II.”

His handprints and footprints in the courtyard of the Chinese Theatre are near those of Marilyn Monroe, Elizabeth Taylor, Brad Pitt and George Clooney.

(Reporting by Jill Serjeant; Editing by Xavier Briand)

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Beyonce brings electricity at Super Bowl halftime

Lights out? Blame Beyonce‘s electrifying performance.

If naysayers still doubted Beyonce‘s singing’s talents — even after her national anthem performance this week at a press conference — the singer proved she is an exceptional performer at the Super Bowl halftime show.

Beyonce opened and closed the performance belting songs, and in between she danced hard and heavy — and better than most contemporary pop stars.

She set a serious tone as she emerged onstage in all black, singing lines from her R&B hit “Love on Top.” The stage was dark as fire and lights burst from the sides. Then she went into her hit “Crazy In Love,” bringing some feminine spirit to the Super Dome as she and her background dancers did the singer’s signature booty-shaking dance. Beyonce ripped off part of her shirt and skirt. She even blew a kiss. She was ready to rock, and she did so like a pro.

Her confidence — and voice — grew as she worked the stage with and without her Destiny’s Child band mates during her 13-minute set, which comes days after she admitted she sang to a pre-recorded track at President Barack Obama‘s inauguration less than two weeks ago.

Beyonce proved not only that she can sing, but that she can also entertain on a stage as big as the Super Bowl’s. She was far better than Madonna, who sang to a backing track last year, and miles ahead of the Black Eyed Peas’ disastrous set in 2011.

Beyonce was best when she finished her set with “Halo.” She asked the crowd to put their hands toward her as she sang the slow groove on bended knee — and that’s when she the performance hit its high note.

“Thank you for this moment,” she told the crowd. “God bless y’all.”

Her background singers helped out as Beyonce danced around the stage throughout most of her performance. There was a backing track to help fill in when Beyonce wasn’t singing — and there were long stretches when she let it play as she performed elaborate dance moves.

She had a swarm of background dancers and band members spread throughout the stage, along with videotaped images of herself dancing that may have unintentionally played on the live-or-taped question. And the crowd got bigger when she was joined by her Destiny’s Child band mates.

Kelly Rowland and Michelle Williams popped up from below the stage to sing “Bootylicious.” They were in similar outfits, singing and dancing closely as they harmonized. But Rowland and Williams were barely heard when the group sang “Independent Woman,” as their voices faded into the background.

They also joined in for some of “Single Ladies (Put a Ring On It),” where Beyonce‘s voice grew stronger. That song featured Beyonce‘s skilled choreography, as did “End of Time” and “Baby Boy,” which featured Beyonce‘s all-female band, balancing out the testosterone levels on the football field.

Before the game, Alicia Keys performed a lounge-y, piano-tinged version of the national anthem that her publicist assured was live. The Grammy-winning singer played the piano as she sang “The Star Spangled Banner” in a long red dress with her eyes shut.

She followed Jennifer Hudson, who sang “America the Beautiful” with the 26-member Sandy Hook Elementary School chorus, an emotional performance that had some players on the sideline on the verge of tears.

The students wore green ribbons on their shirts in honor of the 20 first-graders and six adults who were killed in a Dec. 14 shooting rampage at the school in Newton, Conn.

The students began the song softly before Hudson, whose mother, brother and 7-year-old nephew were shot to death five years ago, jumped in with her gospel-flavored vocals. She stood still in black and white as the students moved to the left and right, singing background.

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Follow Mesfin Fekadu on Twitter at http://twitter.com/MusicMesfi n

Entertainment News Headlines – Yahoo! News

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