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“Deep Vote,” an Oscar winning screenwriter and a member of the Academy, will write this column — exclusively for ScottFeinberg.com — every week until the Academy Awards in order to help to peel back the curtain on the Oscar voting process. His identity must be protected in order to spare him from repercussions for disclosing the aforementioned information.

Thus far, he has shared his thoughts in column one about his general preferences; column two about “Winter’s Bone” (Roadside Attractions, 6/11, R, trailer) and “Solitary Man” (Anchor Bay Films, 5/21, R, trailer); column three about “Alice in Wonderland” (Disney, 3/5, PG, trailer), “Toy Story 3” (Disney, 6/18, G, trailer), and “Mother and Child” (Sony Pictures Classics, 5/7, R, trailer); column four about “Get Low” (Sony Pictures Classics, 7/30, PG-13, trailer), “The Kids Are All Right” (Focus Features, 7/9, R, trailer), and “The Social Network” (Columbia, 10/1, PG-13, trailer); column five about “127 Hours” (Fox Searchlight, 11/5, R, trailer), “Biutiful” (Roadside Attractions, 12/17, R, trailer), and “Shutter Island” (Paramount, 2/19, R, trailer); column six about “Inception” (Warner Brothers, 7/16, PG-13, trailer), “Made in Dagenham” (Sony Pictures Classics, 11/19, R, trailer), and “Somewhere” (Focus Features, 12/22, R, trailer); column seven about “Another Year” (Sony Pictures Classics, 12/29, PG-13, trailer), “Fair Game” (Summit, 11/5, PG-13, trailer), and “Rabbit Hole” (Lionsgate, 12/17, PG-13, trailer); column eight about “Blue Valentine” (The Weinstein Company, 12/29, R, trailer), “The Fighter” (Paramount, 12/10, R, trailer), and “True Grit” (Paramount, 12/22, PG-13, trailer); column nine about “The Ghost Writer” (Summit, 2/19, PG-13, trailer), “The King’s Speech” (The Weinstein Company, 11/26, R, trailer), and “The Town” (Warner Brothers, 9/17, R, trailer); and column ten about “Black Swan” (Fox Searchlight, 12/3, R, trailer), “Conviction” (Fox Searchlight, 10/15, R, trailer), and “I Am Love” (Magnolia, 6/18, R, trailer).

This week, he saw three more contenders (about which he will write next week) — “All Good Things” (Magnolia, 12/3, R, trailer), “Animal Kingdom” (Sony Pictures Classics, 8/13, R, trailer), and “The Way Back” (Newmarket, 12/29, PG-13, trailer) — and shares with us the films that he has listed on his Oscar nominations ballots (in order of preference, as is required). As a member of the writing branch of the Academy, he is eligible to vote in the best picture, best adapted screenplay, and best original screenplay categories during this phase (but opted not vote for the maximum number of films in any of those categories). Here are his selections, along with a bit of commentary explaining each of them…

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Tomorrow, the Directors Guild of America will announce its five nominees for the 2010 DGA Award for Outstanding Directorial Achievement in Feature Film. I believe that they will be (in alphabetical order)…

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• Entertainment Weekly: Dave Karger speaks with Julia Roberts after a special screening of “Biutiful” at CAA that she hosted for industry insiders to help call attention to the performance of her “Eat Pray Love” co-star Javier Bardem. (Robert Forster, Kyle MacLachlan, and Bardem’s pregnant wife Penelope Cruz were among the attendees.) Roberts explains, “I think the movie hasn’t gotten the exposure. You don’t know where it is. It’s like this hidden little jewel… I just have a great appreciation for what he went through to show us all this.”

• Deadline Hollywood: Mike Fleming interviews producer-extraordinaire Scott Rudin, who this week became the first producer to receive PGA Award nominations for two features in the same year (for “The Social Network” and “True Grit”), and who will also be receiving the David O. Selznick Achievement Award at the PGA Awards ceremony. Rudin credits his “great [producing] partners on both” and emphasizes that while “the Oscar stuff is fantastic, rewarding and in some ways exciting… it’s not why you do it. You do it because you want to hold your own work to a standard of excellence.” He also notes that while he was heavily involved with the pre-production of both films (he worked closely with the screenwriters, for instance, while they formulated their scripts), he stayed out of the way of the directors during the filmmaking process itself.

• Awards Tracker: Tom O’Neil advises those who believe that “True Grit” is now the best picture favorite just because it has done well at the box-office ($91.5 million and counting) to “hold your horses.” He submits that “financial success isn’t as important as it used to be to Oscar victory,” citing the fact the best picture Oscar winner went to films that earned at least $100 million domestically 75% of the time between 1986 and 2005, but that 60% of those since have gone to films that did not, including “Crash” ($54 million), “No Country for Old Men” ($74 million), and “The Hurt Locker” ($14 million, or $746 million less than it’s fellow nominee “Avatar”).

• Hollywood-Elsewhere: Jeff Wells passes along an andorsement of the work of the cinematographer Hoyt Van Hoytema on “The Fighter” from legendary cinematographer Michael Chapman, who lensed perhaps the greatest boxing movie of all-time, “Raging Bull” (1980), among other classics. Chapman writes, “The movie struck me as doing the basic thing that cinematography does when it’s done well, which is to present a three-dimensional stage in which the actors can move.”

• The Carpetbagger: Larry Rother mourns the fact that the French film “Carlos,” one of the most critically-beloved movies of 2010, is ineligible for Oscar consideration in any category this year “because of a quirk in the rules set by the Academy of Motion Pictures Arts & Sciences.” The film “was initially broadcast on French television before it was packaged and sold abroad for distribution, in two different versions, one long and one short, as a feature film,” which constitutes a violation of an Academy rule that states, “Films that, in any version, receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release will not be eligible for Academy Awards in any category.”

• Vulture: Jordana Horn asks Quentin Tarantino why he omitted Sofia Coppola’s “Somewhere” — the film to which the Venice Film Festival jury, over which he presided, awarded the Golden Lion back in September — from his year-end top 20 film list. “I’m a little embarrassed by it, actually,” Tarantino says, explaining, “It was never meant to be a dig against ‘Somewhere,’ or Sofia. I simply didn’t consider any of the films I’d seen in Venice for the list.” I put them in a separate box — I was on official duty at that time, not seeing the films theatrically, independently… Now I wish I’d put it on there — I didn’t think anyone would pay attention.” He adds, “I’d have put it in my top 10.”

• Hitfix: Greg Ellwood lists the five films that have been nominated for this year’s USC Scripter Award, which was established in 1988 to celebrate each year’s finest big screen adaptation, and honors “the screenwriter as well as the author of the work in which the screenplay is based.” This year’s finalists: “127 Hours” (Danny Boyle and Simon Beaufoy’s adaptation of Aron Ralston’s autobiography of the same name), “The Ghost Writer” (Robert Harris and Roman Polanski’s adaptation of Harris’s novel “The Ghost“), “The Social Network” (Aaron Sorkin’s adaptation of Ben Mezrich’s book “The Accidental Billionaires“), “True Grit” (Ethan Coen and Joel Coen’s adaptation of Charles Portis’s novel of the same name), and “Winter’s Bone” (Debra Granik and Anne Rosellini’s adaptation of Daniel Woodrell’s novel of the same name).

• The Odds: Steve Pond recaps the nominations announced this week by the PGA (where “The Town” was included as one of the final 10, but “Another Year,” “Blue Valentine,” “Rabbit Hole,” “Shutter Island,” and “Winter’s Bone” were not) and the WGA (where “I Love You Phillip Morris,” “Please Give,” and “The Town” scored nominations, but many of the more likely Oscar nominees were ineligible due to WGA rules). The PGA Awards will be announced on January 22, and the WGA Awards will be announced on February 5.

• Variety: Peter Caranicas passes along the Art Directors Guild’s nominees for the three categories that will be recognized at this year’s ADG Awards, which will be announced on February 5. In the period category: “Get Low,” “The King’s Speech,” “Robin Hood,” “Shutter Island,” and “True Grit.” In the fantasy category: “Alice in Wonderland,” “The Chronicles of Narnia: The Voyage of the Dawn Treader,” “Harry Potter and the Deathly Hallows: Part 1,” “Inception,” and “Tron: Legacy.” And in the contemporary category: “127 Hours,” “Black Swan,” “The Fighter,” “The Social Network,” and “The Town.”

• Gold Derby: Paul Sheehan learns that the Cinema Audio Society’s nominees for the CAS Award for best sound mixing are “Black Swan,” “Inception,” “Shutter Island,” “The Social Network” and “True Grit.” Last year, he notes, four of the five CAS nominees for sound mixing went on to score Oscar nods (“District 9” was replaced by “Inglourious Basterds”), and the CAS winner “The Hurt Locker” went on to win the Oscar.

• The Hollywood Reporter: Sofia M. Fernandez shares the names of the seven films that have made the short-list from which the Academy’s visual effects branch will ultimately select five nominees. The finalists are “Alice in Wonderland,” “Harry Potter and the Deathly Hallows: Part 1,” “Hereafter,” “Inception,” “Iron Man 2,” “Scott Pilgrim vs. the World,” and “Tron: Legacy.” Fernandez notes that members of the branch will screen 15-minute excerpts from the films on January 20, while the final five nominees will be announced January 25.

Photo: Javier Bardem and Julia Roberts. Credit: Entertainment Weekly.

“Deep Vote,” an Oscar winning screenwriter and a member of the Academy, will write this column — exclusively for ScottFeinberg.com — every week until the Academy Awards. He will help to peel back the curtain on the Oscar voting process by sharing his thoughts about the films he sees and, ultimately, his nomination and final ballots, as well. His identity must be protected in order to spare him from repercussions for disclosing the aforementioned information.

Thus far, he has shared his thoughts in column one about his general preferences; column two about “Winter’s Bone” (Roadside Attractions, 6/11, R, trailer) and “Solitary Man” (Anchor Bay Films, 5/21, R, trailer); column three about “Alice in Wonderland” (Disney, 3/5, PG, trailer), “Toy Story 3” (Disney, 6/18, G, trailer), and “Mother and Child” (Sony Pictures Classics, 5/7, R, trailer); column four about “Get Low” (Sony Pictures Classics, 7/30, PG-13, trailer), “The Kids Are All Right” (Focus Features, 7/9, R, trailer), and “The Social Network” (Columbia, 10/1, PG-13, trailer); column five about “127 Hours” (Fox Searchlight, 11/5, R, trailer), “Biutiful” (Roadside Attractions, 12/17, R, trailer), and “Shutter Island” (Paramount, 2/19, R, trailer); column six about “Inception” (Warner Brothers, 7/16, PG-13, trailer), “Made in Dagenham” (Sony Pictures Classics, 11/19, R, trailer), and “Somewhere” (Focus Features, 12/22, R, trailer); column seven about “Another Year” (Sony Pictures Classics, 12/29, PG-13, trailer), “Fair Game” (Summit, 11/5, PG-13, trailer), and “Rabbit Hole” (Lionsgate, 12/17, PG-13, trailer); and column eight about “Blue Valentine” (The Weinstein Company, 12/29, R, trailer), “The Fighter” (Paramount, 12/10, R, trailer), and “True Grit” (Paramount, 12/22, PG-13, trailer).

This week, he assesses three more awards hopefuls: “The Ghost Writer” (Summit, 2/19, PG-13, trailer), “The King’s Speech” (The Weinstein Company, 11/26, R, trailer), and “The Town” (Warner Brothers, 9/17, R, trailer)…

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• The Rundown: James Rocchi talks with Lane Kneedler, associate director of programming for the AFI Film Festival, about the decision to host the Los Angeles event free of charge throughout its span from Nov. 4 through the 11. Kneedler explained, “From a programming perspective, it was very liberating and encouraging… We found that audiences would go see more challenging films, would take more risks, and were more adventurous in their choices if tickets were free.” The fest kicks off at 7:30pm PST tonight with the world premiere of “Love and Other Drugs.”
• 24 Frames: Steven Zeitchik believes that studios with politically-themed flicks this year made a calculated decision to wait until after the midterm elections that took place on Tuesday — consider “Fair Game” and “Client 9: The Rise and Fall of Eliot Spitzer” (this Friday), “The King’s Speech” (11/26), “The Company Men” (12/10), and “Casino Jack” (12/17) — because “it was better to steer clear of the election traffic than to try to navigate it.” He wonders, however, if “Hollywood might have tapped into a growing interest by coming out earlier.”
• Rope of Silicon: Bred Brevet monitors the best animated feature film race as it enters its homestretch — the public has already seen “Toy Story 3” and “How to Train Your Dragon,” and will be introduced to DreamWorks’s “Megamind” this weekend and Disney’s “Tangled” over Thanksgiving holiday weekend. The last yet-to-be-released animated contender? Sony Pictures Classics’s “The Illusionist,” which won’t hit theaters until Christmas Day.
• Movie Line: S.T. VanAirsdale looks over The Weinstein Company’s newly-released poster for “The King’s Speech” and mutters, “Looks like someone needs needs more than just speech therapy.” Why does VanAirsdale feel that it’s “terrible”? He points to incorrect spelling and grammar in the tagline; poor selection and photoshopping of the image; and the absence of any mention of the fact two of the film’s three stars are previous Oscar nominees (Colin Firth and Helena Bonham Carter) and the other is a previous Oscar winner (Geoffrey Rush).
• USA Today: Claudia Puig provides her annual list of films and performances that came out prior to the awards season rush but, she feels, “should not be forgotten by Oscar.” Among those name-checked: “Nowhere Boy,” the tale of John Lennon’s teenage years in Liverpool; “The Ghost Writer,” Roman Polanski’s comeback thriller; and best supporting actor long-shot John Hawkes (“Winter’s Bone”), of whom Puig writes, “Of all the year’s performances, his keeps the viewer most on edge and off balance.”
• WaxWords: Sharon Waxman believes that few of this year’s Oscar contenders have “female characters of any great consequence,” singling out “127 Hours,” “Biutiful,” “The Fighter,” “Inception,” “The King’s Speech,” “The Social Network,” and “True Grit” as particularly egregious offenders. Waxman’s complaint is off the mark, though: female characters are central to “Biutiful” (Maricel Alvarez’s), “The Fighter” (Amy Adams’s and Melissa Leo’s) and “True Grit” (Hailee Steinfeld’s); are absent from “127 Hours” and “The Social Network” because they were largely absent from the true stories on which those films are based; and are more prevalent in awards films this year than any other in recent memory (no fewer than two dozen are in serious contention for a best actress nod).
• Awards Tracker: Tom O’Neil warns audiences not to rule out Clint Eastwood’s “Hereafter” because of its initial lukewarm critical reception, noting that Jerry Zucker’s “Ghost” (1990), another film about the afterlife, was greeted similarly but still managed to snag five Oscar nods (including one for best picture) and win two (best supporting actress for Whoopi Goldberg and best original screenplay). A key difference that Tom neglects to mention, though, is that “Ghost” was a blockbuster (it took second place at the box-office the weekend that it opened and went on to gross over $200 million internationally) whereas “Hereafter” has been a flop (it has been in wide-release for two weeks, and was in limited release before that, but has still earned back only $23 million of its $50 million budget).
• The Wrap: Jeff Sneider finds that the MPAA — on the heels of issuing surprisingly harsh ratings to “Blue Valentine” (NC-17) and “The King’s Speech” (R) — is at it again, this time slapping James L. Brooks’s upcoming rom-com “How Do You Know” with an unexpected R for “some language.” “Individuals familiar with the project have confirmed that producers are planning to appeal the rating,” Sneider reports, but no official statement has been released yet.
• The Odds: Steve Pond compliments the unconventional, simplistic creativity of Fox Searchlight’s most recent promotional mailing, two feathers, one black and one white, inside a black envelope sent from a “Nina Sayers” — the name of the character portrayed by Natalie Portman in the upcoming dramatic-thriller “Black Swan.”
• The Hollywood Reporter: Gregg Kilday previews the first Museum of Tolerance International Film Festival, which will run from November 13-22 at the Los Angeles Museum of Toleranceopen, and will open with Peter Weir’s “The Way Back,” a film about “a small group prisoners who escaped a Siberian gulag in 1940 and made their way across five countries.” Fellow awards hopeful “Made in Dagenham,” a film inspired by the true story of female factory workers in England who went on strike in the sixties seeking equal pay for equal work, will also play the festival.

Photo: Jake Gyllenhaal and Anne Hathaway in a promotional photo for “Love and Other Drugs.” Credit: 20th Century Fox.

Joe Mantell, one of Hollywood’s most prolific character actors for over half a century, has passed away at the age of 94, his family informed me this evening. Mantell is probably best remembered for “Marty” — both the landmark live television version that aired on “The Philco Television Playhouse” in 1953, with Rod Steiger, and the best picture winning film version in 1955, with Ernest Borgnine — in which he portrayed the title character’s best friend Angie, who famously asks him over and over again, “Well, what do you feel like doin’ tonight?” (He was nominated for the best supporting actor Oscar for the latter.)

Mantell seemed to pop up in at least one classic television show or motion picture every decade. After appearing on stage in New York and studying at the famed Actors Lab in Hollywood, he made his big screen debut as a newsboy in Joseph H. Lewis’s “The Undercover Man” (1949). In the 1950s, he played the lead in “Guilty Witness” (1955), a memorable installment of Alfred Hitchcock’s popular television series “Alfred Hitchcock Presents,” and worked with Jerry Lewis in the film “The Sad Sack” (1957). In the 1960s, he had a recurring part on the CBS series “Pete and Gladys” (1960-1962), and starred in two of the most celebrated episodes of Rod Serling’s “The Twilight Zone,” playing a small-time criminal with a guilty conscience in “Nervous Man in a Four Dollar Room” (1960) and a promoter representing a mechanic boxer in “Steel” (1963). (In “Nervous Man,” he lectured a mirror — “You talkin’ to me? You talkin’ to me? Oh yeah. Yeah, sure you are.” — years before Robert De Niro did the same in “Taxi Driver.”) He also appeared in Hitchcock’s “The Birds” (1963), playing a traveling salesman who tells an elderly ornithologist defending the birds that the town should “Kill ’em all!” In the 1970s, he played the partner of Jack Nicholson’s private eye in Roman Polanski’s “Chinatown” (1974) and delivered one of the most famous lines of dialogue in film history, closing the film by saying, “Forget it, Jake. It’s Chinatown.” Mantell and Nicholson became close during the making of the film and reunited 16 years later for its sequel, “The Two Jakes” (1990).

Mantell, who was born on December 21, 1915 in New York, died today at the Providence Tarzana Medical Center in Tarzana, California, with his family by his side, following a long illness. He had lived in nearby Encino since 1961, and is survived by his wife Mary, daughters Jeannie and Cathy, son Robert, daughter-in-law Glei, and grandchildren Liam and Kyler. He will be laid to rest at Hollywood Forever Cemetery in California. A private funeral service is planned for Sunday.

UPDATE: I just got off the phone with 93-year-old Borgnine, who won the best actor Oscar for his performance opposite Mantell in “Marty,” and who was terribly saddened to learn of Mantell’s death: “Since the time we made the picture, we’ve never seen each other. I don’t know why — we live close by and everything else, and I’ve often wondered about Joe, and what he’s doing, and everything else — but we never got together again. But I’ll tell you one thing: he was a wonderful actor, and he made me look good, God bless him. He was just that kind of a wonderful partner who’s right there in the midst of it, you know what I mean? And he made it real, you know?” He added, “I can’t say enough about Joe, by golly. He was a heck of a good guy, and a wonderful actor, and unassuming as hell.”

Photo: Ernest Borgnine and Joe Mantell in the film version of “Marty” (1955). Credit:United Artists.

• The Hollywood Reporter: Paul Bond reviews Forbes magazine’s newly updated list of the 400 Richest People in America and finds that Facebook CEO Mark Zuckerberg ($6.9 billion), the focus of the upcoming film “The Social Network,” is ranked ahead of Apple founder Steve Jobs, the primary stakeholder in Pixar, for the first time.
• The Wrap: Dylan Stableford questions the timing and motivation of the $100 million donation to Newark, New Jersey public schools that Zuckerberg plans to announce today on “Oprah.” Is it just an attempt to bury the critical attention that “The Social Network,” which also premieres today at the New York Film Festival, is likely to bring him and his company?
• Yahoo! Movies: The Weinstein Company has finally released a trailer for Tom Hooper’s “The King’s Speech,” which won the Audience Award at the Toronto International Film Festival and is likely to be one of the biggest Oscar contenders of the season.
• Hollywood News: Linny Lum reports on the announcement by Don Mischer and Bruce Cohen, who were recently named co-producers for the telecast of the 83rd Academy Awards, that Emmy winner Steve Bass will be serving as the show’s production designer.
• The Guardian: Peter Walker recaps Joaquin Phoenix’s return to the set of David Letterman’s “The Late Show” 18 months after his bizarre appearance that we now know was part of a performance for the recently-released documentary “I’m Still Here.” Phoenix told Dave, “I apologize” and “I hope I didn’t offend you in any way.”
• Hitfix: Greg Ellwood smells “Oscar bait” as Roman Polanski announces that he will be directing a film adaptation of the Tony winning Broadway play “God of Carnage” with Kate Winslet, Jodie Foster, Christoph Waltz, and Matt Dillon, who have collectively earned 12 nominations and four statuettes.
• Awards Daily: Sasha Stone asks, “Is it finally time for the AMPAS to recognize the ‘Harry Potter‘ series?” In a word… no.

Photo: Facebook CEO Mark Zuckerberg. Credit: ?

• Deadline Hollywood: Nikki Finke hears that Mel Gibson gives a career-best performance in “The Beaver” and wonders whether he could still score a nod despite his recent bad behavior. Many have been quick to say no, but Scott reminds me that Academy members tend to have short memories and big hearts: Jane Fonda, Vanessa Redgrave, and Oliver Stone all scored nods after making anti-Semitic remarks, as did Woody Allen, Elia Kazan, and Roman Polanski after doing some questionable things of their own.
• Slash Film: Peter Sciretta passes along Tweets claiming that Facebook CEO Mark Zuckerberg was in attendance at an advance screening of “The Social Network” on Tuesday evening in Washington, D.C., but doubts were immediately raised when someone said he was wearing a suit and tie (he almost always wears hoodies), and indeed Scott confirmed with the film’s producer Scott Rudin that the reports are not accurate.
• W Magazine: Lynn Hirschberg chats extensively with “The Social Network” scribe Aaron Sorkin about his rapid-fire, dialogue-packed screenplay, as well as overcoming his addiction to and learning to write without the aid of drugs. Sorkin tells her, “The hardest thing I do every day is not take cocaine.”
• Roger Ebert’s Journal: Roger Ebert scores an interview with actor-director Casey Affleck, who vehemently defends his controversial film “I’m Still Here,” insisting that it was never meant to be a documentary but rather a “fiction feature,” and insists that its subject, Joaquin Phoenix, should consequently be “considered eligible for an Academy Award nomination.” Good luck with that one.
• USA Today: Maria Puente‘s piece on Davis Guggenheim‘s “Waiting for ‘Superman’” — which ran on the front page of yesterday’s paper — wonders whether this “hard-hitting documentary” about America’s flawed educational system could be the first to lead to meaningful reforms.
• Cinematical: Pete Hall posts his list of the “Top 10 Most Fantastic Movies at the 2010 Fantastic Fest” in honor of the weeklong celebration of genre films (action, sci-fi, and horror), which gets underway today and runs for the whole week.
• Producers Guild of America: The PGA says it will present its 2011 Milestone Award to the Oscar winning filmmaker James Cameron at their 22nd annual awards ceremony in January. (Perhaps the group is trying to make amends for last year, when it gave its top prize to Cameron’s ex-wife’s film, “The Hurt Locker,” rather than his, “Avatar.”)
• The Hollywood Reporter: Etan Vlessing learns that Canada has chosen Denis Villeneuve‘s “Incendies” — a French and Arabic language film that tells the story of twins who are dispatched to the Middle East in search of their family origins — as its 2010 submission for consideration in the Academy’s foreign language category. The film, which Sony Pictures Classics will distribute, was very well received earlier this month at the Toronto International Film Festival, where it was voted Best Canadian Film.
• Hitfix: Greg Ellwood cautions that “the Betty White phenomenon” might “stumble a bit this weekend” when “You Again,” the new film in which she appears, opens against “Wall Street: Money Never Sleeps” and “Legends of the Guardians: The Owls of Ga’Hoole.” (He was also “stunned” to learn that a number of White’s scenes were left on the cutting room floor, but looks forward to seeing them in the film’s DVD extras.)
• The Wrap: Brent Lang reports that Fiore Films have acquired the rights to the life story of John “Junior” Gotti, the son of the infamous mafia boss of the same name, and plan to produce and distribute a film that will detail Junior’s “own criminal activities, as well as his relationship with his father.”

Photo: A scene from “Incendies.” Credit: Sony Pictures Classics.