Berlin sales boost Sierra/Affinity

LONDON -- Nick Meyer's L.A.-based sales outfit Sierra/Affinity has reported last month's European Film Market in the Berlinale was its best up to now, because of robust sales on "Wer," "Warmth," "Everly" and "Celeste and Jesse Forever." Werewolf horror pic "Wer," helmed by "The Demon Inside" director William Brent Bell, was clicked up by eOne for U.K. and Canadian privileges. The new sony Pictures Worldwide Purchases required privileges around australia, Nz, Nigeria, Scandinavia, Latin America and Eastern Europe. Further sales around the title were kept in Germany and Europe (Ascot Elite), CIS (Top Film), India (Tanweer), Israel (U . s . King), A holiday in greece, Poultry and Middle East (Italia), Portugal (Lusomundo), Singapore (Cathay-Keris) and Taiwan (Studio Solutions Group). "Warmth," toplining Jason Statham and helmed by John P Palma, was offered to some raft of areas including Germany (Universum), CIS and Baltics (West Video), Eastern Europe (SPI), Latin America (Sun Distribution), India (Tanweer), Scandinavia (Nordisk), Israel (U . s . King), Middle East (Bald eagle Films), Portugal (Lusomundo), Singapore (Cathay-Keris), Taiwan (Studio Solutions Group), Thailand (Sahamongkol) and Poultry (Media Max). Kate Hudson actioner "Everly," created by Crime Scene Pictures, locked a slew of deals. Additionally to formerly introduced sales to Alliance Films for Blighty and Canada and opulent for Germany, Europe and Benelux, pic also offered to Australia (Transmission), CIS and Baltics (Top Film), Eastern Europe (SPI), India (Tanweer), Israel (U . s . King), Latin America (Swen), Middle East (Bald eagle Films), Philippines (Pioneer), Portugal (Lusomundo), Scandinavia (Mis.Label), Singapore (Cathay-Keris), Columbia (Korea Screen), Taiwan (Studio Solutions Group), Thailand (Sahamongkol) and Poultry (Calinos). Sundance player "Celeste and Jesse Forever," toplining Rashida Johnson and Andy Samberg, guaranteed distribution in Germany (DCM), Israel (U . s . King), Hong Kong (Golden Scene), India (Tanweer), Middle East (Bald eagle Films), Portugal (Lusomundo), Philippines (Pioneer), Singapore (Cathay-Keris), Taiwan (Blockbuster) and Poultry (Calinos). "The 2010 EFM demonstrated a powerful marketplace for Sierra/Affinity along with the industry in general,Inch stated Meyer inside a statement. "Purchasers have elevated their degree of anticipation on the standard and kinds of films they need and that we, along with other sales organizations, were fortunate to create productions with the standard talent that permitted us to satisfy individuals anticipation. Contact Diana Lodderhose at diana.lodderhose@variety.com

'Dead' finds Governor

MorrisseyDavid Morrissey remains put in the cast for your third season of "The Walking Dead." He'll play in the Governor, a personality within the Robert Kirkman graphic novel that the net's top-rated show relies. The Governor might be the best choice of Woodbury, just a little settlement of kids, and becomes the primary antagonist for Ron Grimes (Andrew Lincoln subsequently subsequently) and also the group. Morrissey, a U.K. native, has came out in several television programs in great britan in the career that dates back for the early eighties. Credits include "Condition of Play," "Meadowlands" and "Blackpool." Production round the 16-episode third season of "The Walking Dead" begins this spring in Atlanta. Contact Stuart Levine at stuart.levine@variety.com

TiVo: Jennifer Lopez Starred In Oscar Nights Most-Viewed TV Moment

Billy Crystal-Hosted Oscars Watched By 39.3 Million, Up From Last Year Nikki Finke: Live-Snarking The Oscars It’s amazing how much TV viewers care about a little show of nipple. At least that seems to explain why Jennifer Lopez’s joint appearance with Cameron Diaz to present the award for Best Costume Design and Makeup was the most-viewed moment among TiVo DVR users who watched last night’s Oscars live or up to 12 hours after it aired.Their appearance had 14.1% more viewings than the average for the rest of the show, TiVo says based on data from 300,000 of its customers.The company counts the number of times a moment is played or re-played — so it could be inflated by multiple viewings on a few TV sets. Messages indicating that Lopez’s dress revealed more than viewers commonly see in primetime spread through Twitter and other social networks immediately after her appearance. The second-most-watched moment, at 13.5% above average,came nearly an hour later when Robert Downey Jr. and Gwyneth Paltrow presented the award for Best Documentary.Meryl Streep’s victory asBest Actress was close behind, with 13.3% more viewings than average. As for the least-watched moments, they were the acceptance speeches for Sound Mixing (9.8% below average), Original Score (-8.2%), and VisualEffects (-7.3%).

Jan Berenstain, Co-Creator of Berenstain Bears Books, Dies at 88

Mirror, mirror around the wall, and also require a normal TV gig come fall? Breaking Bad's Giancarlo Esposito, who plays the Miracle Mirror on ABC's Not so long ago, has arrived a job in J.J. Abrams' NBC pilot Revolution. Pilot Season: Obtain the scoop! Revolution is referred to like a high-octane action drama that follows several figures battling to outlive and reunite with family members inside a world where all types of energy have inexplicably stopped to exist. Esposito will have... Find Out More > Other Links From TVGuide.com Giancarlo EspositoSupernaturalBryan BurkEric KripkeJ.J. AbramsBreaking BadOnce Upon a period

NBCUnis Maury Spinoff Talk Show Trisha Formally A Try For Fall With 80% Clearances

NBCUniversal Domestic Television Distribution’s new syndicated talk show Trisha, a spinoff from the organization’s veteran Maury, has become a try for fall with clearances in additional than 80% from the U.S., including 27 from the top 30 marketplaces. Trisha‘s core station group is Sinclair, which acquired the series located by popular British talk-show host Trisha Goddard in October. At that time, the show was not firmed up for any national rollout since it was yet to locate stations within the top three marketplaces — NY La and Chicago — something it's now accomplished. In the last several seasons, Goddard offered like a guest host and conflict expert on Maury, and her new show is anticipated to pay attention to conflict resolution. Maury executive producer Paul Faulhaber will even executive make the offshoot. This really is the fifth syndicated talk show to produce across the country within the fall, together with NBCU’s Steve Harvey in addition to Disney’s Katie, CBS’ Shaun Probst and Twentieth TV’s Ricki Lake.

Steven Spielberg talks Tintin 2

Total Film recently taken track of Steven Spielberg, which we've got him to spill the beans round the approaching Tintin follow-up.Spielberg directed the initial instalment in the performance-capture/animated undertake Hergé's spirited comic series, with Peter Jacskon becoming producer. The pair made the decision around the trilogy, as well as the ending in the Secret In The Unicorn certainly left things open for just about any follow-up.Just what can Spielberg reveal about Tintin 2?"Peter [Jackson]'s carrying it out. I desired to make it happen, but Peter must because we developed a deal. I mentioned, 'I'll direct the very first, you direct the second one.'"And Peter, clearly, can perform it soon after he finishes photography round the Hobbit. He'll go into the 31, a three week period of performance capture."We're not telling the earth what books we're basing the second movie on yet."But didn't producer Kathleen Kennedy say it'll be The Calculus Affair?"We have not made a decision that yet. She's throwing a monkey wrench for your story! Maybe. I really like The Calculus Affair. Therefore it might be.InchWe've completed an account outline now. There is available a author about it. I'm not stating how it is. It'll be several book, but no more than two."The Adventures Of Tintin: The Important Thing In The Unicorn arrives on DVD and Blu-ray on 19 March 2012.For further from Steven Spielberg, have the new problem of Total Film magazine, which hits newsstands on Thursday 16 February.And, it's a special interactive problem this month, and therefore exist great extra quite happy with the free Blippar application. See the mag for full particulars! Follow the link a regular membership to Total Film magazine.Follow the link to acquire Total Film magazine on iPad and apple apple iphone from Apple Newsstand.

'Violeta' sees German deal

Distrib Toolbox Film has acquired German distribution privileges to "Violeta Visited Paradise," Andres Wood's biopic of Chilean singer-songwriter Violeta Parra.The spanish language sales consortium Latido Films has additionally licensed "Violeta" privileges to Madman Entertainment around australia, ABC Distribution in Benelux and Poland's Vivarto.Champion of Sundance's World Cinema Grand Jury prize in The month of january, "Violeta" is really a portrait from the the Chilean artist, obssessed by her children, her singing and her aging.Pic has attracted upbeat reviews also for that lead perf of Chilean actress Francisca Gavilan.The spanish language helmer-producer Gerardo Herrero's war thriller "Frozen Silence" continues to be acquired by Metrodome Distribution for that U.K. The Madrid-based company has additionally offered Xavier Villaverde's contempo relationship drama "The Sex from the Angels" to Israel's Shoval Film and Korea's Sonamu Pictures. Contact the range newsroom at news@variety.com

Average ticket prices drop 1.4% in Q4

While domestic average ticket prices through the fourth quarter 2011, at $7.83 per ticket, fell roughly 1.4% in the earlier quarter, the overall average cost of ducats a year ago ($7.93) still clocked in greater in comparison to 2010, when tix cost you a typical $7.89 each.The Country's Assn. of Theater Entrepreneurs released the quarterly stats on Thursday.Less 3d photos launched through the fourth quarter, put in a rise of the season-finish family fare, likely drove lower the normal ticket cost versus. the next quarter.Additionally, Summit's 2D blockbuster "The Twilight Saga: Breaking Beginning -- Part 1" acquired most likely probably the most throughout fourth quarter 2011, with $274.8 million, while 2D holiday standouts, "Mission: Impossible -- Ghost Protocol" and "An Online Detective: A Game Title Title of Shadows," also aided lead for the sesh's decreased ticket cost.Even though average filmgoer paid out more for tickets this season than throughout almost every other year, the hike from 2010 to 2011 -- an increase of under 1% -- was drastically under 2010's 5% hop over 2009. Contact Andrew Stewart at andrew.stewart@variety.com

Lookout improves focus on global co-prods

Vaughan'Titanic'Simon Vaughan, Boss located in london-based production-distribution outfit Lookout Point, signifies television's new number of financing specialists that are advancing one of the growing global curiosity about high-finish programming.Lookout Point is most likely the co-producers in the Julian Fellowes-scripted mega-small "Titanic," set to air in April on ABC, ITV too as with many other nations to coincide while using 100th ann in the maritime disaster. Lookout appeared to become behind the Canuck drama series "Combat Hospital" that broadcast on ABC last summer season, which is just one of many shingles mounting "Parade's Finish," a WWI-set small composed by Tom Stoppard for BBC, Cinemax and Oz's Nine Network.Vaughan has elevated the business of assembling worldwide co-productions for any very long time. Industry for your glossy fare he's most drawn to has not been more effective, thanks mainly towards the introduction of commercial TV shops in Europe and key emerging areas, together with the openness among major U.S. tv producers and cablers to worldwide partners.Nevertheless in Vaughan's view, one of the drivers of latest business formerly few years might be the sea-alteration of the attitude within the native country toward co-productions. In the 10 projects he aided shepherd right before a year ago (an inventory including made-fors "Ben Hur," "The BusinessInch and "Coco Chanel" as well as the CTV/ITV/CBS drama skein "Flashpoint"), Vaughan calculated these had Canadian financing, nine of those had U.S. dollars only three of those had any U.K. money. Throughout yesteryear year, three in the four projects he's attempted greenlighting have significant British gold gold coin inside it.InchIt is tend to be more viable to co-produce inside the U.K. than previously,Inch Vaughan states. "There's never been a far greater time for British drama, aided along by shows like 'Downton Abbey,' 'Sherlock,' 'Luther,' 'The Hour.' And we've been via a learning curve of identifying using co-productions with techniques that doesn't compromise the creative integrity in the show."With Lookout Point, which opened up up its entrance doors in november 2009, Vaughan's technique is to draw in marquee creative names and characteristics that have built-in awareness. So when the financing partners established yourself his job becomes safeguarding the authors from pressure to incorporate elements that could ensure it is more inviting to audiences inside the areas chipping in round the budget."Formerly, co-productions stood a bad rap because they'd been quite cynically made to involve some this plus some that," Vaughan states. "What Lookout Point is doing is always to really put the creative first, not the sale first. There is available a self-assured sense of what you would like to produce rather than something that's designed to please everybody who's putting financing in."Lookout remains made by its first-look distribution deal with BBC Worldwide, that's been extended to include the two companies developing projects together by yourself. The business may also be repped by CAA. Among other projects, Vaughan and BBC Are coming up with a five-hour adaptation of "Ces Miserables" (using the novel, not the tuner), with Andrew Davis aboard to produce the teleplay (even though project has not formally been greenlit).Individually, Lookout is coping with Brit shingle Tiger Aspect on coming back to "Lawrence of Arabia" becoming an ambitious small, with scribe William Boyd aboard to produce some entertainment value to the historic tale.Tiger Aspect and Lookout are actually became a member of around the procedural drama series, "Ripper Street," occur the late 1880s through the time in the Jack the Ripper killings. "Ripper Street" is positioned to bow round the BBC inside the fall, and Vaughan remains fielding interest from U.S. nets.Lookout is actually design what Vaughan calls "a boutique business" that triggers his extended-established associations with key foreign customers. Before Lookout, Vaughan will be a partner in Alchemy Television, which increased to become victim that belongs to them early success."We have got just a little overcommitted through the economic crisis. We given a lot of, we elevated too rapidly,Inch Vaughan mentioned. "But we did a number of things right. The bits that we needed with me at night were that we weren't required to be everything to all or any projects. Alchemy ended up developing, creating, disseminating, financing, deficiting, using the stand at Cannes. Now our model is simpler."You learn a lot more from stuff that don't quite go right than you must do from items that do. Plenty of people encounters, despite the fact that these were bruising in those days, you take with you.In . Contact Cynthia Littleton at cynthia.littleton@variety.com

DGA Awards have film-TV imbalance

Tom Hooper won the DGA Awards biggie last year before taking the Oscar for directing.Though the 64th annual Directors Guild of America Awards will be presented Saturday amid awards-season hoopla for 2011's fave movies, most of the directors accepting kudos will be recognized for work that appears on TV.Seven of the DGA's 10 categories are for shows on the smallscreen, including comedy series, dramatic series, musical variety and daytime serials, far outnumbering the two bigscreen categories: documentary (which dates to 1977) and feature film, the org's longest-running prize, created in 1948. The remaining award is for commercials."It does seem like they're sort of shortchanging the film directors," says Tampa Bay Times critic Steve Purcell, who would like to see more DGA categories for filmmaking.Rewarding directors of animated features would be a good place to start, he adds, given the different skill set required to create them and the popularity of the genre.Steven Rea, with the Philadelphia Inquirer, also would encourage an animation award."Adding animation would expand the reach of the guild in a good way," he says. "It would show that it's more inclusive and open to the artistry of animated film directors."While animation is the only award Rea would add to the DGA film roster, Purcell believes there's merit in splitting the current feature kudo along drama and comedy or musical lines -- as the Golden Globes does with its film awards -- and he also would like to see annual recognition of up-and-coming filmmakers."Directors of the independents in a lot of cases have to take much more of the fundraising on their shoulders compared with the directors of more highly budgeted studio productions," Purcell says. "That should be honored and regarded in some way. It would inspire more folks who are out there in film schools, and in doing so you bring in the next fold, the next generation of filmmakers."There's already a history of the guild honoring a range of film genres, according to DGA media relations director Sahar Moridani."The DGA Award has recognized blockbusters, dramas, comedies, musicals, independents and foreign films. We are very proud of our tradition of honoring outstanding directorial achievement in feature film with one award."Indeed, nominees and winners from the past decade have included works from the likes of James Cameron ("Avatar"), Kathryn Bigelow ("The Hurt Locker"), Jonathan Dayton and Valerie Faris ("Little Miss Sunshine"), William Condon ("Dreamgirls") and Alejandro Gonzalez Inarritu ("Babel").Should the DGA add any more awards to its lineup, Spencer Parsons, an assistant radio/TV/film professor at Northwestern U., foresees an honors hierarchy developing. As it is, the DGA's prize for feature director is not only coveted -- last year's winner, Tom Hooper, called it "the highest honor of my life" -- it also is widely considered one of the most reliable indicators of the eventual Oscar winner for director. How would any new genre-based awards compare?"They would still leave dramatic filmmaking as the most coveted award, the one treated as the top dog over awards for the other genres," says Parsons, who's wrapping his second feature, "Saturday Morning Massacre," for the festival circuit. "Yes, you're awarding more films, you're creating more opportunity, but you're also in a way giving a new prize that is somewhat less."Purcell doubts any second-class concerns if the DGA adds an animation category. "You'll have to ask Disney/Pixar whether they've had any regrets about winning all of those Oscars for best animated feature and not for best film."DGA AWARDS 2012Post-party obsession | DGA Awards have film-TV imbalance | Inner circle Contact the Variety newsroom at news@variety.com

SAG-AFTRA Merger Means Tougher Admissions, Potentially Costlier Membership

AFTRA's open door policy which allows anyone to join the union online by paying the initiation fee will end if SAG and AFTRA merge, The Hollywood Reporter has learned. In its place will be new SAG-AFTRA rules that primarily mirror SAG's existing ones a set of requirements that have made a meme out of "How do I get my SAG card?"In addition, the price is changing: at $3,000, the new initiation fee is higher than SAG's $2,277 or AFTRA's $1,600, but less than the two combined.That translates to a 23% savings for actors who would otherwise join both unions as many do, since the overwhelming majority of new scripted television series have gone AFTRA since 2009, while movies remain a SAG-only business.There's good news for existing members who aren't dual cardholders: according to a source, those who paid only one union's initiation fee won't have to pay the difference between that amount and the higher SAG-AFTRA fee. They'll be grandfathered at the lower fee.Those who are dual cardholders and previously paid initial fees that amounted to more than $3,000 such as $2,277 plus $1,600, i.e., $3,877) might wonder whether the new union will refund the difference. That's unknown, although one would assume it's unlikely.Initiation fees aren't the only cost associated with union membership: there are also annual dues. As THR previously reported, those will decrease for some members and increase for others under a merged union.The new entrance rules will allow someone to join if they score a job as a principal under a SAG-AFTRA contract; work for 3 days as a background performer (i.e., extra) in a SAG-AFTRA background role; are a member of a sister union for at least a year and have worked as a principal performer; or are an employee at a company that the union board has targeted for organizing, such as new cable networks or small broadcast stations.The first three methods are essentially the same as under existing SAG rules, while the fourth is new. The tighter requirements mark a new development for DJs, announcers, newspersons and sportscasters, although the fourth option is obviously intended to soften the change, at least for those groups. It's not known how they'll react, although THR is told that G1 members from those constituencies agreed to the change.The difficulty of qualifying under the guild's rules have helped make SAG membership aspirational and contributed to the value of the organization's "brand name."For actors, the tighter rules and increased dues mark a change from AFTRA's current approach. The changes would take effect upon ratification of the merger proposal, which wouldn't happen until around mid-March at the earliest, given typical SAG and AFTRA referendum timetables.However, AFTRA's board could decide at its meeting this weekend to tighten entrance procedures in order to forestall a "land rush" of new members during the weeks that the proposal will be out for balloting or even under legal challenge. Whether it will take such action is unknown, although a flood of new membership applications in the next few days could precipitate such action.Nonetheless, aspiring actors who jump at the chance to join AFTRA now in order to be grandfathered in at the lower initiation fee and essentially non-existent entrance requirements may be making a mistake. That's because union membership may cut them off from non-union work too early in their careers i.e., at a time when the more competitive union jobs are out of their reach. For that reason, advice columns and books often counsel new actors to be cautious about joining SAG or AFTRA early on even if they've qualified for the coveted SAG card.The new membership rules are technical enough to warrant explanation:1. Hired for a SAG (or, post-merger, SAG-AFTRA) principal role. This is the classic way for someone to get admitted to a union, and would be unchanged under SAG-AFTRA: the non-union actor get hired for a union job. This isn't easy, because existing SAG members are theoretically first in line.As soon as the actor books the job, he or she becomes "SAG Eligible." Thirty days later, the actor becomes "SAG Must Join," and can no longer work SAG jobs without joining the union. The union enforces this rule by requiring producers to verify the actor's status by contacting the union, a procedure oddly called "Station 12." There don't seem to be any Stations 1 through 11.(Alternatively, a SAG Must Join actor can elect the legally-protected "financial core" status, and pay slightly reduced dues without actually joining. Fi-core is an option that allows people to work union jobs and get the benefits of those jobs, such as residuals, but also them to work non-union despite SAG's Global Rule 1 to the contrary (which is a rule that will largely survive the transition to SAG-AFTRA, at least for actors). For that reason, fi-core is despised by unions, but in any case it's chosen by very few members of SAG or other entertainment unions. Another wrinkle: in "right to work" states primarily conservative "red states" people can't be required to join a union even if they don't go fi-core.)2. Three days as a background performer in a SAG (or, post-merger, SAG-AFTRA) background role. In a SAG covered movie or a SAG (or AFTRA) covered TV show, a certain number of background positions are generally subject to union minimums and conditions; the remainder are not. A non-union actor who scores one of the SAG-covered positions gets a voucher attesting to that fact. Three vouchers and the performer can (and must) join the guild.Critics say the so-called three voucher system is open to abuse, since assistant directors in practice have wide latitude in determining who gets the valuable union chits. Some want to loosen the rule, while many SAG background performers want the requirements tightened further. Although the system will survive the transition to SAG-AFTRA, there is apparently some board sentiment for later changing it.3. Sister union membership. A performer who is a member of a performers union that's part of the Associated Actors and Artistes of America the archaic "Artistes" is not a typo for at least a year and has had at least one principal role (e.g., not a background role, or extra) is eligible to join any other Four A's union. Among those unions are SAG, AFTRA and Actor's Equity. That reciprocity has made AFTRA's open membership policy a route to SAG membership. If SAG and AFTRA merge, that relatively easy route disappears, although it will remain for members of Equity (which is not an open door union) or the several smaller, more specialized components of the Four A's. 4. Employees of targeted employers. This one is new: if the SAG-AFTRA board decides to campaign for an employer to go union, it can decide to offer the employees union membership. This is apparently intended to address concerns of DJs, announcers, newspersons and sportscasters, who have operated to date under AFTRA's open door membership policy and loosely-interpreted "No Contract, No Work" rule rather than SAG's tighter membership requirements and stringent Global Rule 1.Some technical details of interest in the regions outside of major production centers: Under current SAG and AFTRA rules, lower initiation fees are available to actors who join in some smaller markets. It's not known whether this will be the case in the new union.Also, under current SAG rules, such members who later work in higher-fee areas such as NY or Los Angeles may have to pay the difference between the discounted fee and the higher fee, such as $2,277. With the higher fee increasing the $3,000 in the new union (assuming merger passes), that might mean that current members who paid a discounted local fee would end up making up a larger difference than anticipated. This is unknown at this time.Some of these details may become clear when the merger proposal is released next week, but perhaps not all of them, in light of the fact that a source told THR earlier in the week that some matters will be left to the discretion of the new union's board. By Jonathan Handel January 24, 2012 AFTRA's open door policy which allows anyone to join the union online by paying the initiation fee will end if SAG and AFTRA merge, The Hollywood Reporter has learned. In its place will be new SAG-AFTRA rules that primarily mirror SAG's existing ones a set of requirements that have made a meme out of "How do I get my SAG card?"In addition, the price is changing: at $3,000, the new initiation fee is higher than SAG's $2,277 or AFTRA's $1,600, but less than the two combined.That translates to a 23% savings for actors who would otherwise join both unions as many do, since the overwhelming majority of new scripted television series have gone AFTRA since 2009, while movies remain a SAG-only business.There's good news for existing members who aren't dual cardholders: according to a source, those who paid only one union's initiation fee won't have to pay the difference between that amount and the higher SAG-AFTRA fee. They'll be grandfathered at the lower fee.Those who are dual cardholders and previously paid initial fees that amounted to more than $3,000 such as $2,277 plus $1,600, i.e., $3,877) might wonder whether the new union will refund the difference. That's unknown, although one would assume it's unlikely.Initiation fees aren't the only cost associated with union membership: there are also annual dues. As THR previously reported, those will decrease for some members and increase for others under a merged union.The new entrance rules will allow someone to join if they score a job as a principal under a SAG-AFTRA contract; work for 3 days as a background performer (i.e., extra) in a SAG-AFTRA background role; are a member of a sister union for at least a year and have worked as a principal performer; or are an employee at a company that the union board has targeted for organizing, such as new cable networks or small broadcast stations.The first three methods are essentially the same as under existing SAG rules, while the fourth is new. The tighter requirements mark a new development for DJs, announcers, newspersons and sportscasters, although the fourth option is obviously intended to soften the change, at least for those groups. It's not known how they'll react, although THR is told that G1 members from those constituencies agreed to the change.The difficulty of qualifying under the guild's rules have helped make SAG membership aspirational and contributed to the value of the organization's "brand name."For actors, the tighter rules and increased dues mark a change from AFTRA's current approach. The changes would take effect upon ratification of the merger proposal, which wouldn't happen until around mid-March at the earliest, given typical SAG and AFTRA referendum timetables.However, AFTRA's board could decide at its meeting this weekend to tighten entrance procedures in order to forestall a "land rush" of new members during the weeks that the proposal will be out for balloting or even under legal challenge. Whether it will take such action is unknown, although a flood of new membership applications in the next few days could precipitate such action.Nonetheless, aspiring actors who jump at the chance to join AFTRA now in order to be grandfathered in at the lower initiation fee and essentially non-existent entrance requirements may be making a mistake. That's because union membership may cut them off from non-union work too early in their careers i.e., at a time when the more competitive union jobs are out of their reach. For that reason, advice columns and books often counsel new actors to be cautious about joining SAG or AFTRA early on even if they've qualified for the coveted SAG card.The new membership rules are technical enough to warrant explanation:1. Hired for a SAG (or, post-merger, SAG-AFTRA) principal role. This is the classic way for someone to get admitted to a union, and would be unchanged under SAG-AFTRA: the non-union actor get hired for a union job. This isn't easy, because existing SAG members are theoretically first in line.As soon as the actor books the job, he or she becomes "SAG Eligible." Thirty days later, the actor becomes "SAG Must Join," and can no longer work SAG jobs without joining the union. The union enforces this rule by requiring producers to verify the actor's status by contacting the union, a procedure oddly called "Station 12." There don't seem to be any Stations 1 through 11.(Alternatively, a SAG Must Join actor can elect the legally-protected "financial core" status, and pay slightly reduced dues without actually joining. Fi-core is an option that allows people to work union jobs and get the benefits of those jobs, such as residuals, but also them to work non-union despite SAG's Global Rule 1 to the contrary (which is a rule that will largely survive the transition to SAG-AFTRA, at least for actors). For that reason, fi-core is despised by unions, but in any case it's chosen by very few members of SAG or other entertainment unions. Another wrinkle: in "right to work" states primarily conservative "red states" people can't be required to join a union even if they don't go fi-core.)2. Three days as a background performer in a SAG (or, post-merger, SAG-AFTRA) background role. In a SAG covered movie or a SAG (or AFTRA) covered TV show, a certain number of background positions are generally subject to union minimums and conditions; the remainder are not. A non-union actor who scores one of the SAG-covered positions gets a voucher attesting to that fact. Three vouchers and the performer can (and must) join the guild.Critics say the so-called three voucher system is open to abuse, since assistant directors in practice have wide latitude in determining who gets the valuable union chits. Some want to loosen the rule, while many SAG background performers want the requirements tightened further. Although the system will survive the transition to SAG-AFTRA, there is apparently some board sentiment for later changing it.3. Sister union membership. A performer who is a member of a performers union that's part of the Associated Actors and Artistes of America the archaic "Artistes" is not a typo for at least a year and has had at least one principal role (e.g., not a background role, or extra) is eligible to join any other Four A's union. Among those unions are SAG, AFTRA and Actor's Equity. That reciprocity has made AFTRA's open membership policy a route to SAG membership. If SAG and AFTRA merge, that relatively easy route disappears, although it will remain for members of Equity (which is not an open door union) or the several smaller, more specialized components of the Four A's. 4. Employees of targeted employers. This one is new: if the SAG-AFTRA board decides to campaign for an employer to go union, it can decide to offer the employees union membership. This is apparently intended to address concerns of DJs, announcers, newspersons and sportscasters, who have operated to date under AFTRA's open door membership policy and loosely-interpreted "No Contract, No Work" rule rather than SAG's tighter membership requirements and stringent Global Rule 1.Some technical details of interest in the regions outside of major production centers: Under current SAG and AFTRA rules, lower initiation fees are available to actors who join in some smaller markets. It's not known whether this will be the case in the new union.Also, under current SAG rules, such members who later work in higher-fee areas such as NY or Los Angeles may have to pay the difference between the discounted fee and the higher fee, such as $2,277. With the higher fee increasing the $3,000 in the new union (assuming merger passes), that might mean that current members who paid a discounted local fee would end up making up a larger difference than anticipated. This is unknown at this time.Some of these details may become clear when the merger proposal is released next week, but perhaps not all of them, in light of the fact that a source told THR earlier in the week that some matters will be left to the discretion of the new union's board.

Mandts, Ranik ramp up MMA in China

The Mandt Bros., behind ESPN's "Jim Rome Is Burning," have paired up with Ranik Ultimate Fighting Federation to produce TV shows around mixed martial arts to grow the sport in China. RUFF, based in Shanghai, holds the exclusive government-sanctioned rights to produce MMA fights in China. Mandt will collaborate with RUFF on the creative development of the league and live events, leading all TV production, from one-off specials to a potential reality shows to air in China. "This is a huge opportunity to help grow MMA in the most populous country in the world, where martial arts is already popular," said Neil Mandt. "Mandt Bros. has strong expertise in sports and reality television, with deep relationships with networks, sponsors, athletes and others, and we are thrilled to team with RUFF to bring all of our creative and production skills to China." RUFF founders and entrepreneurs Joel Resnick and Saul Rajsky secured rights to produce MMA bouts in China in 2010, gaining permission from the General Administration of Sport of China Wushu Administrative Center, after spending four years negotiating with the Chinese government to bring the sport to the country. The company's first two events, in late 2011, were viewed by 20 million and 27 million, respectively. The third bout is slated to take place in Chongqing on March 24. At least a half-dozen MMA events are planned this year to develop Chinese MMA fighters for local auds. In the past, Resnick said, "nobody was willing to build the fighters, give them a personality, and make them fan favorites. It's about showing ordinary kids that they can be the fighter, and you don't have to be the biggest or strongest guy to win." Los Angeles-based Mandt Bros. is run by sibs Neil and Michael. In addition to "Jim Rome Is Burning," the shingle has produced the pic "Last Stop for Paul" and TV series "Destination Truth," for Syfy, "Ice Brigade," for Food Network, Fuel TV's "Strangers in Danger" and "The Car Show," for Speed Network. Contact Marc Graser at marc.graser@variety.com

YouTube partners for global short competition

YouTube and the Emirates airline have partnered with the Venice Film Festival and Scott Free to launch Your Film Festival -- a global competition for filmmakers to submit 15-minute videos. The contest, announced Thursday, calls for 10 finalists flown in August to the Venice festival, where their work will screen, and for the winner to receive a development deal with Ridley Scott's Scott Free Prods. and a $500,000 grant. "Short filmmaking is exactly where I started my career 50 years ago, so to be helping new filmmakers find an entry point like this into the industry is fantastic," Ridley Scott said. Submissions, which open Feb. 2 and close March 31, will be reviewed by Scott Free and narrowed down to 50 semi-finalists. The YouTube community will then vote for the finalists. "YouTube is committed to bringing entertaining, original content to a global audience and Your Film Festival is another example of our investment in great creators worldwide," said Robert Kyncl, YouTube's global head of content at YouTube. "Through this program, YouTube will give filmmakers the opportunity to reach a vast audience, screen their work during the Venice Film Festival and potentially be rewarded in a career-changing way." The initiative reunites YouTube with Scott Free following their partnership to help create the documentary "Life In A Day," which debuted at last year's Sundance festival. Contact Dave McNary at dave.mcnary@variety.com

Art Directors noms announced

The Art Directors Guild has tapped the production designers from 14 films in three categories for its top feature award.The guild, which operates as Local 800 of the Intl. Alliance of Theatrical Stage Employees, made the announcement Tuesday night. Winners will be announced Feb. 4 at its 16th annual Excellence in Production Design Awards ceremonies at the Beverly Hilton Hotel.Period film noms went to Laurence Bennett for "The Artist"; Dante Ferretti for "Hugo"; Sebastian Krawinkel for "Anonymous" and Maria Djurkovic for "Tinker Tailor Soldier Spy."Fantasy film nods went to Stuart Craig for "Harry Potter and the Deathly Hallows, Part 2"; Rick Heinrichs for "Captain America: The First Avenger"; John Myhre for "Pirates of the Carribean: On Stranger Tides"; Scott Chambliss for "Cowboys & Aliens"; and "The Adventures of Tintin," on which the guild has not yet made a determination of production designer.Contemporary film nominations went to Donald Graham Burt for "The Girl with the Dragon Tattoo"; Jane Anne Stewart for "The Descendants"; KK Barrett for "Extremely Loud & Incredibly Close"; Beth Mickle for "Drive"; and Jefferson Sage for "Bridesmaids.""The King's Speech," "Inception" and "Black Swan" won the top feature awards last year from the Art Directors Guild for the period, fantasy and contemporary categories respectively. "Alice in Wonderland" won the Oscar for art direction. The guild also announced nominations for five TV categories. For One-Hour Single Camera Television Series, nods went to Bill Groom for episode 21 of "Boardwalk Empire"; Gemma Jackson for the "A Golden Crown" segment of "Game of Thrones"; Mark Worthington for the "Murder House" episode of "American Horror Story"; Scott P. Murphy for "The Scarlett Bunny" segment of "The Playboy Club"; and Bob Shaw for the "Pan Am" pilot. Movie or mini-series noms went to Mark Friedberg for "Mildred Pierce"; Patti Podesta for "Cinema Verite"; Bob Shaw for "Too Big to Fail"; Eve Stewart for "The Hour"; and Robb Wilson King for "Bling Ring."Half Hour Single-Camera Television Series noms went to Richard Berg for the "Express Christmas"segment of "Modern Family"; Keith Ian Raywood and Teresa Mastropierro for the "Double-Edged Sword" episode of "30 Rock"; Joseph P. Lucky for the "Game-Played" segment of "Weeds"; Michael Wylie for the "Monkey Business" seg of "Californication"; andJefferson D. Sage for the "New Girl" pilot. Noms for multi-camera, variety or unscripted series: Keith Ian Raywood, Eugene Lee, Leo Yoshimura, N. Joseph De Tullio for "Saturday Night Live" (Episode: host Justin Timberlake); Stephan Olson for the "Ducky Tie" seg of "How I Met Your Mother"; Glenda Rovello for "The Rich People's Problems" episode of "2 Broke Girls"; James Yarnell for the "Top 12 Boys Perform" seg of "American Idol." and for "Round One" of "Dancing With the Stars." Steve Bass scored double noms in the awards and game shows category for the "83rd Annual Academy Awards" and "The 63rd Annual Emmy Awards." Other noms went to Brian Stonestreet for "68th Annual Golden Globes"; Florian Wieder for "2011 MTV Video Music Awards"; and John Ivo Gilles for the "Best Buds" segment of "It's Worth What?" Commercial and music video nods went to Neil Spisak for "Activision: Call of Duty" Jeffrey Beecroft for "Victoria's Secret", Marcos Lutyens for "Audi A8", Jeremy Reed for "Chevy Volt" and Christopher Glass for "Jim Beam." Contact Dave McNary at dave.mcnary@variety.com