Saturday, February 23, 2013

Jack Nicholson, Dustin Hoffman join list of Oscar presenters

LOS ANGELES (TheWrap.com) - Jack Nicholson and Dustin Hoffman will present on this year's Oscar telecast, adding some old- school prestige to the proceedings.

They also bring an impressive track record of Oscar victories.

Nicholson has been nominated 12 times and won three statues for his leading performances in "One Flew over the Cuckoo's Nest" (1975) and "As Good as It Gets" (1997) and for his supporting work in "Terms of Endearment" (1983). He has also become an Oscars fixture over the years, with his trademark sunglasses and leer enlivening many a telecast.

Hoffman has been nominated seven times, winning twice for his leading performances in "Kramer vs. Kramer" (1979) and "Rain Man" (1988).

"Between the two of them, Jack Nicholson and Dustin Hoffman have created more iconic characters than any other pair of actors in the world," producers Craig Zadan and Neil Meron said in a statement. "Their participation in this year's Oscars completes a list of presenters and performers that truly represents that great breadth and depth of acting talent in film today."

Hoffman and Nicholson join a list of presenters that includes Jane Fonda, Michael Douglas, Jamie Foxx, Melissa McCarthy, Ben Affleck, Jessica Chastain, Jennifer Lawrence, Sandra Bullock, Nicole Kidman, Reese Witherspoon, Mark Wahlberg, and "Marvel's The Avengers" cast members Robert Downey Jr., Samuel L. Jackson, Chris Evans, Jeremy Renner and Mark Ruffalo.

In addition, all of the four acting award winners from last year's ceremony - Jean Dujardin, Christopher Plummer, Octavia Spencer and Meryl Streep - will present on the show.

Music is also shaping up to be an important element on this broadcast, with Zadan and Meron lining up such big name performers as Adele, Dame Shirley Bassey, Norah Jones and Barbra Streisand.

The Oscars will air this Sunday and will be hosted by "Ted" star Seth MacFarlane.

Source: http://news.yahoo.com/jack-nicholson-dustin-hoffman-join-list-oscar-presenters-175056005.html

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Daniel Day-Lewis may be best actor of his generation

By Rick Warner, TODAY contributor

Barring a huge upset, Daniel Day-Lewis will receive the best-actor Oscar for ?Lincoln? on Feb. 24 and pull off what Marlon Brando, Dustin Hoffman, Jack Nicholson and Spencer Tracy could not -- ?become the first three-time winner of the award. It would also cement his reputation as the best, and probably most eccentric, actor of his generation.

Miramax, 20th Century Fox, Dream

Day-Lewis undergoes incredible physical transformations for his roles. From left, the actor in "Gangs of New York," "The Last of the Mohicans," and "Lincoln."

Day-Lewis previously won Oscars for his unforgettable portrayals of disabled artist Christy Brown in ?My Left Foot? (1989) and oil baron Daniel Plainview in ?There Will Be Blood? (2007). Now he?s nominated for his iconic role as Abraham Lincoln in Steven Spielberg?s film about the Great Emancipator?s shrewd campaign to outlaw slavery with the 13th Amendment.

Reuters

The Oscar winner's own life is the stuff of movies. He is the son of a British poet laureate and married to a famous playwright's daughter.

Despite a relatively slim filmography that includes only 19 features over the last three decades, the chameleon-like 55-year-old Brit has delivered more memorable performances than any other actor of his era. He?s the male Meryl Streep, someone whose own persona disappears on camera, a perfectionist performer who is hardly recognizable from film to film.

He?s brilliantly brought to life such divergent characters as a 19th-century mobster (?Gangs of New York?), an Irishman falsely imprisoned for an IRA bombing (?In the Name of the Father?), a gay punk (?My Beautiful Laundrette), an ex-con fighter (?The Boxer?), a farmer accused of witchcraft (?The Crucible?), a wealthy New York lawyer (?The Age of Innocence?), and a womanizing Czech surgeon (?The Unbearable Lightness of Being?).

Day-Lewis is so worshipped that it?s almost heresy to point out that his resume also includes some duds. ?Eversmile, New Jersey? is humdrum comedy; he was horribly miscast in the musical ?Nine;? and ?The Ballad of Jack and Rose" is a pretentious bore. Still, he?s one of the most fascinating actors around.

Watch how he physically morphs from one character to the next. As Hawkeye in ?The Last of the Mohicans,? with sported flowing shoulder-length hair, gym-toned pecs, and a musket strapped on his back, Day-Lewis never looked sexier. As Bill ?The Butcher? in ?Gangs of New York,? he was a cold-blooded killer with a glass eye, more menacing than Mike Tyson in his prime.

And of course, there?s his current turn as Abraham Lincoln in ?Lincoln.? Though his lanky frame suggests he might have been born to play the role, Day-Lewis? face looks more gaunt than usual and the chin-curtain beard helps him fit our historical Lincoln image to a T.

A physical transformation is one thing, but Day-Lewis also manages to completely change his voice to fit the part, too. As Christy Brown in ?My Left Foot,? he perfectly captures the slurred, halting speech of a cerebral palsy victim who learns to write and paint with his foot. Drawing on his ?Gangs of New York? role again, his guttural, street-wise voice is almost as scary as his character's "Butcher" nickname. And his most recent best actor win, as Daniel Plainview in ?There Will Be Blood? he invented a unique frontier accent that sounds like a hybrid of Jack Palance and John Huston.

To achieve those distinctive personas, Day-Lewis has been known to stay in character even after the cameras stop rolling. For instance, he reportedly never left his wheelchair on the set of ?My Left Foot.? He learned to hunt and skin animals for ?The Last of the Mohicans? and apprenticed as a butcher for ?Gangs of New York.? He trained for 18 months with former world champion Barry McGuigan for ?The Boxer,? and in a move that certainly raised a stink, supposedly did not bathe or shower while shooting ?The Crucible."

Day-Lewis can be romantic on screen -- who can forget his smoldering love scenes with Lena Olin and her bowling hat in "The Unbearable Lightness of Being?? -- but he can also be vicious. When he bludgeons preacher Eli Sunday with a bowling pin in "There Will Be Blood,?? he looks like he needs an exorcism.

Day-Lewis? official anointment as the most decorated actor of all time is expected during Sunday?s Oscar broadcast, 8:30 p.m. ET on ABC.

Source: http://todayentertainment.today.com/_news/2013/02/20/17031066-oscar-win-could-mark-daniel-day-lewis-as-best-actor-of-his-generation?lite

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Ben Foster replaces Shia LaBeouf on Broadway

NEW YORK (AP) ? Shia LaBeouf is out. Ben Foster is in.

A day after LaBeouf stepped away from the play that would have marked his Broadway debut, he was replaced by Foster.

LaBeouf responded to the backstage turmoil by posting private messages from the show's actors and creative team sent to him that expressed sadness for any creative disagreements and high admiration for LaBeouf's skills.

Foster, whose film roles include "3:10 to Yuma" and "The Messenger" and who was on TV in "The Laramie Project" and "Six Feet Under," had auditioned for the revival of Lyle Kessler's play "Orphans" but had lost the role to the star of the "Transformers" franchise.

After LaBeouf left the production on Wednesday due to what were described as "creative differences," Foster was picked. After the change was announced, LaBeouf tweeted: "Ben Foster is a beast. He will kill it," in all capital letters. Foster will be making his Broadway debut.

The play, which premiered in 1983, tells the story of two orphaned brothers living in a decrepit Philadelphia row house who decide to kidnap a wealthy man. LaBeouf was to play one brother and and Tom Sturridge the other; Former "30 Rock" star Alec Baldwin will be the target.

The switch in actors hasn't delayed the show. Producers said "Orphans" will still open on March 19 at the Schoenfeld Theatre. Rehearsals restart Friday.

LaBeouf apparently stepped away from the play without burning too many bridges ? at least according to the messages he's posted on Twitter. The actor published email messages between him, Baldwin, Sturridge and director Daniel Sullivan that indicated a somewhat amicable, if anguished, split.

"Sorry for my part of a dis-agreeable situation," he wrote to Baldwin in an email posted on LaBeouf's Twitter feed. LaBeouf also posted his raw audition video, allowing the world to weigh in on his approach.

Baldwin apparently wrote to the younger actor: "I don't have an unkind word to say about you. You have my word."

LaBeouf also posted an image of an email he got from former co-star Sturridge, who seemed shocked by the split and called it an honor to work with LaBeouf. "I was stunned by the work you were doing," he wrote. "I think you lifted the play to a place higher than maybe it even deserved to be."

As for Sullivan, the director apparently wrote to LaBeouf after the decision was made that the actor leave the show: "This one will haunt me. You tried to warn me. You said you were a different breed. I didn't get it."

A press representative for the show said the messages were legitimate.

LaBeouf seemed still somewhat shaken by the whole experience Thursday, writing on Twitter a series of slogans with opaque meanings.

"The theater belongs not to the great but to the brash. acting is not for gentlemen, or bureaucratic-academics. what they do is antiart," he wrote in one tweet.

He also posted an image of a commiserative email apparently from Rick Sordelet, a veteran fight director, who said, "It was obvious you were going to turn in a fantastic performance." In the same message, Sordelet wrote: "It must have been difficult for others in the room to be schooled by someone who's raw talent and enthusiasm out matched theirs." It was likely a note not intended for the rest of the company to see.

LaBeouf, whose other films include "Indiana Jones and the Kingdom of the Crystal Skull" and "Wall Street: Money Never Sleeps," was also recently seen in John Hillcoat's crime drama "Lawless."

___

Online: http://www.orphansonbroadway.com

___

Follow Mark Kennedy on Twitter at http://twitter.com/KennedyTwits

Source: http://news.yahoo.com/ben-foster-replaces-shia-labeouf-broadway-183004296.html

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How human language could have evolved from birdsong

Friday, February 22, 2013

"The sounds uttered by birds offer in several respects the nearest analogy to language," Charles Darwin wrote in "The Descent of Man" (1871), while contemplating how humans learned to speak. Language, he speculated, might have had its origins in singing, which "might have given rise to words expressive of various complex emotions."

Now researchers from MIT, along with a scholar from the University of Tokyo, say that Darwin was on the right path. The balance of evidence, they believe, suggests that human language is a grafting of two communication forms found elsewhere in the animal kingdom: first, the elaborate songs of birds, and second, the more utilitarian, information-bearing types of expression seen in a diversity of other animals.

"It's this adventitious combination that triggered human language," says Shigeru Miyagawa, a professor of linguistics in MIT's Department of Linguistics and Philosophy, and co-author of a new paper published in the journal Frontiers in Psychology.

The idea builds upon Miyagawa's conclusion, detailed in his previous work, that there are two "layers" in all human languages: an "expression" layer, which involves the changeable organization of sentences, and a "lexical" layer, which relates to the core content of a sentence. His conclusion is based on earlier work by linguists including Noam Chomsky, Kenneth Hale and Samuel Jay Keyser.

Based on an analysis of animal communication, and using Miyagawa's framework, the authors say that birdsong closely resembles the expression layer of human sentences ? whereas the communicative waggles of bees, or the short, audible messages of primates, are more like the lexical layer. At some point, between 50,000 and 80,000 years ago, humans may have merged these two types of expression into a uniquely sophisticated form of language.

"There were these two pre-existing systems," Miyagawa says, "like apples and oranges that just happened to be put together."

These kinds of adaptations of existing structures are common in natural history, notes Robert Berwick, a professor of computational linguistics at MIT who is also an author of the paper.

"When something new evolves, it is often built out of old parts," Berwick says. "We see this over and over again in evolution. Old structures can change just a little bit, and acquire radically new functions."

A new chapter in the songbook

The new paper, "The Emergence of Hierarchical Structure in Human Language," was co-written by Miyagawa, Berwick and Kazuo Okanoya, a biopsychologist at the University of Tokyo who is an expert on animal communication.

To consider the difference between the expression layer and the lexical layer, take a simple sentence: "Todd saw a condor." We can easily create variations of this, such as, "When did Todd see a condor?" This rearranging of elements takes place in the expression layer and allows us to add complexity and ask questions. But the lexical layer remains the same, since it involves the same core elements: the subject, "Todd," the verb, "to see," and the object, "condor."

Birdsong lacks a lexical structure. Instead, birds sing learned melodies with what Berwick calls a "holistic" structure; the entire song has one meaning, whether about mating, territory or other things. The Bengalese finch, as the authors note, can loop back to parts of previous melodies, allowing for greater variation and communication of more things; a nightingale may be able to recite from 100 to 200 different melodies.

By contrast, other types of animals have bare-bones modes of expression without the same melodic capacity. Bees communicate visually, using precise waggles to indicate sources of foods to their peers; other primates can make a range of sounds, comprising warnings about predators and other messages.

Humans, according to Miyagawa, Berwick and Okanoya, fruitfully combined these systems. We can communicate essential information, like bees or primates ? but like birds, we also have a melodic capacity and an ability to recombine parts of our uttered language. For this reason, our finite vocabularies can generate a seemingly infinite string of words. Indeed, the researchers suggest that humans first had the ability to sing, as Darwin conjectured, and then managed to integrate specific lexical elements into those songs.

"It's not a very long step to say that what got joined together was the ability to construct these complex patterns, like a song, but with words," Berwick says.

As they note in the paper, some of the "striking parallels" between language acquisition in birds and humans include the phase of life when each is best at picking up languages, and the part of the brain used for language. Another similarity, Berwick notes, relates to an insight of celebrated MIT professor emeritus of linguistics Morris Halle, who, as Berwick puts it, observed that "all human languages have a finite number of stress patterns, a certain number of beat patterns. Well, in birdsong, there is also this limited number of beat patterns."

Birds, bees ? and dolphins?

The researchers acknowledge that further empirical studies on the subject would be desirable.

"It's just a hypothesis," Berwick says. "But it's a way to make explicit what Darwin was talking about very vaguely, because we know more about language now."

Miyagawa, for his part, asserts it is a viable idea in part because it could be subject to more scrutiny, as the communication patterns of other species are examined in further detail. "If this is right, then human language has a precursor in nature, in evolution, that we can actually test today," he says, adding that bees, birds and other primates could all be sources of further research insight.

MIT-based research in linguistics has largely been characterized by the search for universal aspects of all human languages. With this paper, Miyagawa, Berwick and Okanoya hope to spur others to think of the universality of language in evolutionary terms. It is not just a random cultural construct, they say, but based in part on capacities humans share with other species. At the same time, Miyagawa notes, human language is unique, in that two independent systems in nature merged, in our species, to allow us to generate unbounded linguistic possibilities, albeit within a constrained system.

"Human language is not just freeform, but it is rule-based," Miyagawa says. "If we are right, human language has a very heavy constraint on what it can and cannot do, based on its antecedents in nature."

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Massachusetts Institute of Technology: http://web.mit.edu/newsoffice

Thanks to Massachusetts Institute of Technology for this article.

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Source: http://www.labspaces.net/126974/How_human_language_could_have_evolved_from_birdsong

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