Tuesday, September 24, 2024
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Theater: LA Gets a Blast of New York from Broadway’s Stephen Schwartz with Perfomances by Megan Hilty, Idina Menzel, Others

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Stephen Schwartz, composer of “” Wicked,” Godspell,” “Pippin,” “Enchanted,” “The Prince of Egypt,” “Pocohantas,” “and so much more well deserves all the accolades he gets. His latest honor is near and dear to him. Wallis Annenberg, the noted philanthropist of many causes, founded the Center for Performing Arts in Beverly Hills. Schwartz didn’t need prodding to accept this honor. He told me that, “I get asked to do a lot of these, I pick my spots, and I picked the Annenberg. I really believe in what they do and proud they selected me.” What’s next for this prolific composer? “The most front burner thing is the stage adaptation of ‘The Prince of Egypt’ which is going to open in the West End of London in the beginning of next year. “

Idina Menzel, whose Elphaba in “Wicked” launched her career, before paid tribute to him by saying, “Having Stephen Schwartz in my life, well, it changed the trajectory of my life. It changed everything about me. I embraced the power and the beauty of a unique, fierce, incredible woman and to feel the calm in owning that and not apologizing for who you are.” Menzel also had a cute moment when as she started to wax poetic about Schwartz, she asked the piano player to vamp a bit so “I’m not alone out here!” She then sang her noted song, “Defying Gravity.”

Performances by others included Megan Hilty (who just finished playing Patsy Cline for a Lifetime movie) Andrea Martin, Liz Callaway, (who is playing Feinstein’s in Manhattan singing Schwartz’s songs) opera star Angel Blue, Isaiah Johnson, Jordan Fisher, the Los Angeles Children’s Chorus and more. The first Pippin himself John Rubenstein, Producer and frequent Schwartz collaborator Marc Platt, and respected artistic director Paul Crewes, along with executive director Rachel Fine, all honored him as well. Oscar winners Justin Paul and Benj Pasek came to honor their mentor, and video clips included a funny Jason Alexander who auditioned himself for the “Wicked” wizard role, Kristin Chenoweth and David Copperfield.

Co-Chair Wallis Annenberg presented Schwartz with a $100,000 donation to the ASCAP Foundation, where he serves as the Artistic Director. She remarked that, “Stephen Schwartz once wrote this wonderful line, (referring to “Corner Of The Sky” from “Pippin”) that “People like the way dreams have of sticking to the soul.’ That is why we created this center six years ago. We all need dreams that touch us deep down inside, that stick to our soul, and that is why Stephen’s career has been so extraordinary, so iconic, because his stories, his compositions, his glorious works of art speak to the deepest emotions about who we are and who we want to be.” Stephen then played the evening’s closing number, his new song “Can You Imagine.” Wallis is right, Stephen defines the word ‘iconic.’

 

 

Photo Credit:  (Michael Kovac / Getty Images)

Adam Levine Leaving “The Voice” After 8 Years: “For me, it was time to move on…a life shaping experience that will be close to my heart forever”

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Maroon 5’s Adam Levine is leaving “The Voice” after 8 years and 2000 seasons. (Seasons used to be one per year, but now who knows?)

Before “The Voice,” Levine was simply the leader of a pop rock band. “The Voice” blew him up into a crossover star. Earlier this month it seemed like he was coming back next season. But he’s out. It’s likely he wanted too much money and NBC didn’t want to pay it.

Maroon 5 is what I call a great survivor. Levine has guided them through a decade of changes and kept them on top. Maybe he’s got more to do there, I wouldn’t be surprise. All those top 40 hits should culminate in something better than “The Best of 3 Dog Night.” I think he’s got it in him.

Here’s his statement divided by me into paragraphs:
“About 8 years ago, Mark Burnett convinced us to sign up for this show where you sit in a big red chair with your back turned away from the singers on the stage. First thank you must go to Mark. ❤️ We had no idea what we were doing or where it was going.

After the first day of shooting, I sat there, stunned. I said to myself “theres some magic here. Something is definitely happening.” It went on to be a life shaping experience that will be close to my heart forever. Thank you NBC for signing me up. I am truly honored to have been a part of something I’ll always cherish for the rest of my life. Thank you to every single coach I ever sat in those chairs with. That is shared experience that is singularly ours. We have that for life. Thank you to everyone who supported this long strange and amazing left turn into a place I never thought I’d go.

Thank you Carson Daly for babysitting the musicians and making sure our shoes were tied and we had our lunch boxes. You are the backbone of this thing and we appreciate you more than you know. Audrey, thank you for being perhaps the most patient person in all the free world. 4 musicians all at once is a lot. Sainthood is imminent. Thank you to Paul Mirkovich and the band for their ridiculously hard work and learning more songs than maybe any band ever. 😂 Thank you to the people behind the scenes who do the real work and make this machine hum. To the amazingly talented vocalists who competed on the show and blew my mind on a daily basis.

And, BLAKE FUCKIN’ SHELTON. I couldn’t hide my love for you if I tried. Seriously. I tried. Can’t do it. Our friendship is and always will be one for the books. Whatever this whole surreal experience was, Im just happy I got to experience it with you. You’re my brother for life. Kelly and John, take care of the cowboy and I’m sure I’ll be back to say hi very very soon. So much love to you both. And lastly, to all of the loyal voice fans, there’s literally no show without you guys.

For me, it was time to move on. Your support has meant EVERYTHING. And Lastly, I’d like to thank my manager Jordan for convincing me to take that meeting. 😊 What an amazing ride. Thank you all so much. ❤️
Adam

Tarantino Film “Once Upon a Time in Hollywood” Not Screening in Traditional Saturday Finale with Competition Films

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On the last day of the Cannes Film Festival– tomorrow– traditionally all the competition films are re-screened so everyone so see them again before the awards ceremony.

Not so for Quentin Tarantino’s “Once Upon a Time in Hollywood.” The festival says it’s because there are technical problems with the 35mm print. But “OUT” has already screened twice, in two different theatres, on opening night. This doesn’t make sense.

It may be because Tarantino’s team already knows they’re not getting any awards, and are done. Or that Tarantino doesn’t want this version to be seen again after a lot of criticism and some weird questions at his press conference.

But all the other competition films will be shown tomorrow, including Pedro Almodovar’s much loved “Pain and Glory” and Terrence Malick’s “A Hidden Life.”

The fact is, “OUT” could be shown tomorrow. But something’s up. Tarantino told IndieWire he might recut and make it longer. This came after a big fight at his press conference where the London NY Times correspondent asked why Margot Robbie’s Sharon Tate character had so little dialogue.

Tarantino angrily responded, “I reject your hypothesis.” Other journos, all fawning, then denounced the the Times reporter for asking a question! How dare she!

And yet, we’ll see sometime soon if Robbie doesn’t have much dialogue, or if her character is just symbolic. But tomorrow’s non screening must be a disappointment to those who waited around to see it. C’est la vie!

amFAR in Cannes Less Than Gala with Tabloid Stars Replacing Movie Stars, No One from Film Festival Shows Up

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Cannes in amFAR this year? A shit show, from what the pictures tell us. And pictures are what amFAR is about.

For the first time in two decades, no stars from movies at the Cannes Film Festival showed up at the Eden Roc. No one from Jim Jarmusch’s “The Dead Don’t Die,” the Elton John biopic “Rocketman,” or Quentin Tarantino’s star-packed “Once Upon a Time in Hollywood.”

The gala could have been held anywhere, for any reason. It had nothing to do with the Cannes Film Festival. Quel dommage!

amFAR didn’t even have Sharon Stone, whom they have treated so shabbily in recent years. Without Stone, former president Kenneth Cole, or Harvey Weinstein (who brought stars like Nicole Kidman and Renee Zellweger in years past), amFAR in Cannes was reduced to the rubble of Kardashians and Pamela Anderson.

To be fair, I noticed two Oscar winners: Christoph Waltz and Adrien Brody. But they are not currently involved in the film festival.

Some other well known women, like Eva Longoria and Andie McDowell, were there promoting L’Oreal.

But there was no Leo, Brad, Margot, Quentin– and they were all or had just been staying on the property. There was certainly no Elton John, who has his own AIDS Foundation and is touring his farewell concert. There wasn’t even Naomi Campbell. Even she smelled the organization’s stale death.

There wasn’t even Tilda Swinton, who’d been around all week at various events.

I remember the heyday of amFAR in Cannes, when Elton concertized for Liz Taylor and Calvin Klein, Sharon Stone conducted the auction.

Now: pffft. And for the second year in a row, the amFAR organizers, who are paid hundreds of thousands of dollars themselves, didn’t both announcing how much the annual dinner earned for AIDS research.  CEO Kevin Frost, who makes over $600,000 a year, is still counting the receipts from 2018! Forget 2019!

 

 

Esquire Magazine Editor Jay Fielden Quits Abruptly After 3 Years, Allegedly Pushed Out By The Digital People Who Run Hearst Publications

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That’s it, Hearst Publications is now completely gone-so.

Jay Fielden, the high profile editor who took over three years ago from David Granger, has left the building. The word is he was pushed out by the two people Hearst promoted to run the company, only to slowly kill it. Fielden is leaving on top, with a great cover about Quentin Tarantino’s new movie.

Here’s Fielden’s exit statement on Instagram:

“Today—after a lot of long and careful thinking—I have decided it is time to depart as Esquire’s editor in chief, three and a half years after I arrived. The issue we unveiled earlier this week—with Leonardo DiCaprio, Brad Pitt, and Quentin Tarantino on the cover—will be, it’s not easy to say, my last. As a magazine editor and writer, I’ve long revered the magical intersection of words and images as they come together on the page and online. Ever since I graduated from college, in fact, I’ve been working for a big magazine—The New Yorker, Vogue—or editing one—Men’s Vogue, Town & Country, Esquire. In the decade that Hearst Magazines has been my creative home, I’ve also collaborated with some of the best writers, photographers, designers, and fellow editors in the business, and it’s been a genuine privilege for which I’m deeply grateful. There is no greater joy—or honor—than the camaraderie of a close and deeply talented staff, and the thing I will miss most (in addition to the great muse that is Esquire itself) is the conversation and debate, the collaboration, the shared life of revisions and deadlines and filling the monthly void. Simply put—their daily company. I have, however, felt the lure of new possibilities—all the more so now, as the means of production for a new media venture is basically my laptop (which also has the first few chapters of a book on it). For me, the time has simply come to press on in a new direction, perhaps more than one, before I get struck by male pattern baldness. When I settle for certain on what’s next, you will be among the first to know. Until then, I hope to practice my piano, play a little more tennis than usual, and make my kids breakfast while my wife gets to sleep late. I might even get to take all these bags on a long summer trip . . . or two.”

Hearst is now being run by a guy named Troy Young, who has no business overseeing a fabled print enterprise. He and his co-hort Kate Lewis, have alienated and forced out a number of talented veterans from the company.

View this post on Instagram

Today—after a lot of long and careful thinking—I have decided it is time to depart as Esquire’s editor in chief, three and a half years after I arrived. The issue we unveiled earlier this week—with Leonardo DiCaprio, Brad Pitt, and Quentin Tarantino on the cover—will be, it’s not easy to say, my last. As a magazine editor and writer, I've long revered the magical intersection of words and images as they come together on the page and online. Ever since I graduated from college, in fact, I've been working for a big magazine—The New Yorker, Vogue—or editing one—Men's Vogue, Town & Country, Esquire. In the decade that Hearst Magazines has been my creative home, I've also collaborated with some of the best writers, photographers, designers, and fellow editors in the business, and it's been a genuine privilege for which I’m deeply grateful. There is no greater joy—or honor—than the camaraderie of a close and deeply talented staff, and the thing I will miss most (in addition to the great muse that is Esquire itself) is the conversation and debate, the collaboration, the shared life of revisions and deadlines and filling the monthly void. Simply put—their daily company. I have, however, felt the lure of new possibilities—all the more so now, as the means of production for a new media venture is basically my laptop (which also has the first few chapters of a book on it). For me, the time has simply come to press on in a new direction, perhaps more than one, before I get struck by male pattern baldness. When I settle for certain on what’s next, you will be among the first to know. Until then, I hope to practice my piano, play a little more tennis than usual, and make my kids breakfast while my wife gets to sleep late. I might even get to take all these bags on a long summer trip . . . or two. #esquire

A post shared by Jay Fielden (@jayfielden) on

ABC’s “All in the Family” and “The Jeffersons” Live Special Scores Whopping 10 Mil Viewers, Can “Dick van Dyke” and Other Classics Be Far Behind?

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ABC’s live reboot of “All in the Family” and “The Jeffersons” was a monster hit last night. The first three half hours scored 10.5 mil, 10.3, and 10.1 million. The last half hour, about “All in the Family” slipped down to 7, still very high.

I haven’t seen the show yet, but I’ve seen Jennifer Hudson sing “The Jeffersons” theme song, and that alone should win awards. It’s some of the best singing she’s ever done. (That plus her impromptu duet with Tom Jones on “The Voice.”)

Jimmy Kimmel and Justin Theroux’s idea paid off like crazy. Also, a star studded cast didn’t hurt. You don’t often see Woody Harrelson and Marisa Tomei on TV, let alone Jamie Foxx. But they all started on TV, so it makes sense.

Now all the networks will be falling over themselves to do this. Some will work, some won’t. It will depend on the writing. But I’m sure Carl Reiner, the same age as Norman Lear– 96– will be pitching a “Dick van Dyke” hour to CBS this morning! How about a “Dvd”/”Get Smart” hour with Reiner and Mel Brooks?

 

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Michael Avenatti, Indicted for Ripping off Client Stormy Daniels on Book Advance, Had Nerve to Copyright His Foreword Separately

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I’ve  never seen this before. Tell me if I’m wrong.

For her book, “Full Disclosure,” Stormy Daniels asked her lawyer, Michael Avenatti, to write a foreword– a Note, it’s called in the book.

Avenatti did so. And on the copyright page of “Full Disclosure,” he registered a separate copyright for his Note. I’ll bet Daniels aka Stephanie Clifford didn’t know or notice at the time. Generally, a foreword or note in a memoir falls under the author’s copyright.

But Avenatti, who we now know from his indictment had steered Daniels’ advance to his own accounts, thought there’d be some money in his inane comments. He thought so little of Daniels he was charging her for his Note!

The very short Note says nothing of value, so I’m not even going to reprint it in full here. It just congratulates Stormy and says how wonderful she is. By then, Avenatti– who is clearly a sociopath– had already ripped her off. He didn’t include that in his Note!

an excerpt:

“Her journey so far has been an amazing one. And we don’t know yet where it ends. My hope for this book is that it will let you learn who Stormy Daniels really is. I am confident that when you do, you will agree that we are all very lucky to have her.”

 

Michael Avenatti Indicted Again in NY, This Time for Stealing Money from Stormy Daniels, Charged with Aggravated Identity Theft (Read it Here)

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Stormy Daniels lawyer Michael Avenatti has been indicted again by the US Attorney in New York. The victim was his former client, Stormy Daniels.

Here’s the release:

Geoffrey S. Berman, the United States Attorney for the Southern District of New York, and William F. Sweeney Jr., Assistant Director-in-Charge of the New York Office of the Federal Bureau of Investigation (“FBI”), announced the indictment today of MICHAEL AVENATTI on fraud and aggravated identity theft charges.  As alleged, AVENATTI used misrepresentations and a fraudulent document purporting to bear his client’s name and signature to convince his client’s literary agent to divert money owed to AVENATTI’s client to an account controlled by AVENATTI.  AVENATTI then spent the money principally for his own personal and business purposes.  The fraud and aggravated identity theft case is assigned to U.S. District Judge Deborah Batts of the Southern District of New York.

AVENATTI was separately indicted today on extortion charges, which were the subject of a previous Complaint and arrest of AVENATTI, relating to his alleged attempt to extract more than $20 million in payments from Nike, Inc., by threatening to use his ability to garner publicity to inflict substantial financial and reputational harm on the company if his demands were not met.  That case is assigned to U.S. District Judge Paul Gardephe of the Southern District of New York.

Manhattan U.S. Attorney Geoffrey S. Berman said:  “Michael Avenatti abused and violated the core duty of an attorney – the duty to his client.  As alleged, he used his position of trust to steal an advance on the client’s book deal.  As alleged, he blatantly lied to and stole from his client to maintain his extravagant lifestyle, including to pay for, among other things, a monthly car payment on a Ferrari.  Far from zealously representing his client, Avenatti, as alleged, instead engaged in outright deception and theft, victimizing rather than advocating for his client.”

According to the allegations in the Indictment unsealed today[1]:

            From August 2018 through February 2019, AVENATTI defrauded a client (“Victim-1”) by diverting money owed to Victim-1 to AVENATTI’s control and use.  After assisting Victim-1 in securing a book contract, AVENATTI allegedly stole a significant portion of Victim-1’s advance on that contract.  He did so by, among other things, sending a fraudulent and unauthorized letter purporting to contain Victim-1’s signature to Victim-1’s literary agent, which instructed the agent to send payments not to Victim-1 but to a bank account controlled by AVENATTI.  As alleged, Victim-1 had not signed or authorized the letter, and did not even know of its existence.

            Specifically, prior to Victim-1’s literary agent wiring the second of four installment payments due to Victim-1 as part of the book advance, AVENATTI sent a letter to Victim-1’s literary agent purportedly signed by Victim-1 that instructed the literary agent to send all future payments to a client trust account in Victim-1’s name and controlled by AVENATTI.  The literary agent then wired $148,750 to the account, which AVENATTI promptly began spending for his own purposes, including on airfare, hotels, car services, restaurants and meal delivery, online retailers, payroll for his law firm and another business he owned, and insurance.  When Victim-1 began inquiring of AVENATTI as to why Victim-1 had not received the second installment, AVENATTI lied to Victim-1, telling Victim-1 that he was still attempting to obtain the payment from Victim-1’s publisher.  Approximately one month after diverting the payment, AVENATTI used funds recently received from another source to pay $148,750 to Victim-1, so that Victim-1 would not realize that AVENATTI had previously taken and used Victim-1’s money.

            Approximately one week later, pursuant to AVENATTI’s earlier fraudulent instructions, the literary agent sent another payment of $148,750 of Victim-1’s book advance to the client account controlled by AVENATTI.  AVENATTI promptly began spending the money for his own purposes, including to make payments to individuals with whom AVENATTI had a personal relationship, to make a monthly lease payment on a luxury automobile, and to pay for airfare, dry cleaning, hotels, restaurants and meals, payroll, and insurance costs.  Moreover, to conceal his scheme, and despite repeated requests to AVENATTI, as Victim-1’s lawyer, for assistance in obtaining the book payment that Victim-1 believed was missing, AVENATTI led Victim-1 to believe that Victim-1’s publisher was refusing to make the payment to the literary agent, when, as AVENATTI knew, the publisher had made the payment to the literary agent, who had then sent the money to AVENATTI pursuant to AVENATTI’s fraudulent instructions.

*                *                *

AVENATTI, 48, of Los Angeles, California, is charged in the fraud and aggravated identity theft indictment with one count of wire fraud, which carries a maximum penalty of 20 years in prison, and one count of aggravated identity theft, which carries a mandatory term of imprisonment of two years in addition to the sentence imposed for the wire fraud charge.

AVENATTI is charged in the extortion indictment with one count of conspiracy to transmit interstate communications with intent to extort, which carries a maximum penalty of five years in prison, one count of conspiracy to commit extortion, which carries a maximum penalty of 20 years in prison, one count of transmission of interstate communications with intent to extort, which carries a maximum penalty of two years in prison, and one count of extortion, which carries a maximum penalty of 20 years in prison.

The maximum potential sentences in both cases are prescribed by Congress and are provided here for informational purposes only, as any sentencing of the defendant will be determined by the judge.

Mr. Berman praised the work of the FBI and the Special Agents of the United States Attorney’s Office for the Southern District of New York, and noted that the investigation is ongoing.

The cases are being handled by the Office’s Public Corruption Unit.  Assistant United States Attorneys Matthew Podolsky, Robert L. Boone, and Robert B. Sobelman are in charge of the prosecutions.

Vanity Fair Plays the Graydon Carter Card of Exclusive “Star Wars” Covers: Adam Driver and Daisy Ridley Signal Young and White, While Diverse Actors Are Featured Inside

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Vanity Fair has been struggling with circulation problems in print and online. So now they’re offering two exclusive photos as covers from the new “Star Wars” movies to boost interest.

This is really playing the Graydon Carter card. For over a year, VF has eschewed Carter’s successful methods and had mostly difficult covers that were poorly shot of people not so popular and not looking great.

But the “Star Wars” covers– a Carter traditional exclusive– show that editor Radhika Jones is a little bit in retreat. Her template has been to offer covers of diversity. But those didn’t sell well. Last month, Jones returned to old standby Nicole Kidman, even though our favorite actress didn’t have a big movie to sell. But she signaled a pause in Jones’s radical makeover of the magazine.

The “Star Wars” covers are notable in that they are a choice of either Adam Driver or Daisy Ridley. There’s no John Boyega, Oscar Isaac, or especially Billy Dee Williams. Driver and Ridley are young and white, the demo Conde Nast and VF used to hold to their hearts dearly. Diversity be damned, even though that’s what “Star Wars” is about. Well, let’s see if that works.

The magazine has just endured a traumatizing Cannes pool party in drenching rain at the Hotel duCap. Even though Brad Pitt and Leonardo DiCaprio were on the grounds, they didn’t attend. Their big get was Quentin Tarantino, and a bunch of actors who’d already been at every party in town. The rain was so bad the guests couldn’t go outside, so the party remained under the eaves of the Eden Roc, a small space that’s hard to keep heated.

Mixed, Early Buzz from Cannes for Quentin Tarantino’s First Movie Without Harvey Weinstein to Temper Him

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There’s mixed early buzz from Cannes right now for Quentin Tarantino’s “Once Upon a Time…in Hollywood.” It’s his first movie without Harvey Weinstein. I can’t publish spoilers, but I’m hearing that what I wrote yesterday may be close to what happens. What’s interesting is that I’m hearing there’s a lot of concentrated violence, a la “Pulp Fiction.” Weinstein was always able to reason with Tarantino to get very good results (except with “Hateful Eight”). So it will be interesting to see if anyone was able to counterbalance Tarantino’s extremes.

Owen Gleiberman, Variety: “By the end, Tarantino has done something that’s quintessentially Tarantino, but that no longer feels even vaguely revolutionary. He has reduced the story he’s telling to pulp.”

Reviewers are being careful. Eric Kohn of IndieWire Tweeted: “ONCE UPON A TIME IN HOLLYWOOD is a meandering Tarantino hangout movie, plays w/history, celebrates the art of the TV western & the creative thrill of performance. DiCaprio & Pitt are better than ever. Lots of nostalgic Easter eggs. It’s fun! But manage expectations.”

One reviewer from Europe told me: ” The film is really long, sometimes fun but also so disengaging. Like a collage of ideas that are poorly glued together.”

Stuart Oldham, from Variety: ““Once Upon a Time in Hollywood” is a surprisingly sweet, almost melancholic love letter to 1960s and 70s Hollywood. I loved it”

Richard Lawson, Vanity Fair: “There were stretches during my screening when I was a little bored, even as I was tickled by Tarantino’s offbeat cadence, his commitment to specificity and idiosyncrasy. But it also felt like the movie wasn’t getting anywhere, amounting to a collection of shapeless set-pieces that verge on the indulgent. In Hollywood, the lack of real connective tissue is often more frustrating than it is charming.”

Of course, I love Tarantino and like everyone else, I’m stoked to see this movie. The studio took a gamble unveiling it two months before its release.

Right now, I’m that the main players– Tarantino, Pitt, Robbie, DiCaprio, Fanning– plus their agents are having an intimate dinner for just 20 people. Then a party will take off on the rooftop of the JW Marriott, at Club Albane, for the select few who could score an invite. Sony/Columbia is indeed managing expectations. They only brought four cast members, and didn’t even include Fanning on the red carpet.