Friday, September 30, 2011

Judge issues gag order in Jackson death trial

LOS ANGELES | Fri Sep 30, 2011 8:08pm EDT

LOS ANGELES (Reuters) - The judge in the manslaughter trial of Michael Jackson's doctor issued a gag order for attorneys on Friday after a defense counselor appeared on a television show telling details about the case.

The judge's order came at midday on Friday, the fourth day of the widely-watched trial in which prosecutors are trying to prove that Dr. Conrad Murray is responsible for the drug overdose that led to the pop star's death on June 25, 2009.

Prosecutors brought to the courtroom paramedics who responded to the call for help, as well as other witnesses, to try to prove that Murray was negligent in his care and covered up Jackson's use of the anesthetic propofol, which is the principal cause of Jackson's death.

But the day's bombshell came with Judge Michael Pastor's gag order, which followed an appearance by defense attorney Matthew Alford on NBC's morning chat show "Today."

"The attorneys for the parties in this case ... are ordered not to comment to anyone outside of their respective teams either directly or indirectly regarding any aspects of this case, whether orally or in writing," Pastor said in court.

Alford said on "Today" that one witness had changed his testimony several times and declared Jackson was addicted to propofol.

In Friday's testimony, paramedics who rushed to the singer's bedside told jurors they were optimistic he might live because they arrived within five minutes of being called. But they soon saw Jackson was unresponsive.

"I knew that we got there very, very quickly. It meant we'd have a good chance of restarting the heart if that was the issue," said paramedic Richard Senneff.

COLD SKIN, DEAD EYES

But Senneff said that he quickly realized Jackson had been down for more than five minutes. "His skin was very cool to the touch," Senneff said. "When I took a first glance at him, his eyes, they were open and his pupils were dilated. When I hooked up the EKG machine it was flatlined."

The call for help was received at 12:22 p.m., paramedics arrived at 12:26 p.m. and made it to Jackson's bedroom one minute later and worked feverishly to revive Jackson.

Senneff testified that he was on the phone with doctors at a nearby hospital and they recommended at 12:57 p.m. that Jackson be declared dead. Murray demanded that Jackson nevertheless be taken to the hospital for further treatment.

The pop star was pronounced dead later that day at the UCLA Medical Center in Los Angles.

In trying to prove Murray's negligence, prosecutors have spent much of this first week creating a timeline between when Jackson stopped breathing and Murray called for help. During those precious minutes, prosecutors claim Murray was trying to cover up evidence of Jackson's use of the anesthetic propofol, which ultimately caused the singer's death.

Earlier in the day, jurors heard a voicemail Murray left for one of his heart patients at 11:49 a.m. PDT (2:49 p.m. EDT) on June 25, 2009 -- seven minutes before he is believed to have found Jackson unresponsive in his bedroom.

Prosecutors seek to prove Murray failed to properly monitor Jackson after giving him a dose of propofol. They claim that instead of watching Jackson in the singer's bedroom, Murray was busy on his cellphone before discovering at around 11:56 a.m. that the "Thriller" singer had stopped breathing.

Murray admits administering propofol but denies involuntary manslaughter. His lawyers have argued that Jackson caused his own death by giving himself an extra dose of propofol, mixed with prescription sedatives, without Murray's knowledge.

Murray faces up to four years in prison if convicted.

Witnesses earlier this week described frantic scenes at Jackson's house on the morning of his sudden death, when the 50 year-old singer was found lifeless in bed and hooked up to an IV machine, a urine collection device and an oxygen feed.

(Editing by Bob Tourtellotte)



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A look behind the making of "Terra Nova" dinosaurs

LOS ANGELES | Fri Sep 30, 2011 6:57pm EDT

LOS ANGELES (Reuters) - Everybody knows what dinosaurs look and sound like. After all, who hasn't seen the "Jurassic Park" movies.

So what if your boss is Steven Spielberg -- the guy who created that movie and is chiefly responsible for those dinosaurs? And he says that for his new TV show, "Terra Nova," make me dinosaurs but don't make them look or sound like "Jurassic Park" dinosaurs?

"You can see the dilemma," deadpanned Michael Graham, the supervising sound designer for Spielberg's new Fox series, "Terra Nova," which debuted on TV earlier this week.

"Everybody who's seen that movie knows -- that's what they sound like! That is the vocabulary of dinosaurs," Graham said.

In "Terra Nova," humans are sent back in time to escape the overcrowded and polluted future of 2149. And they go WAY back to prehistoric times with when massive animals with scaly skin, sharp teeth and names that end with "-aurus" ruled Earth.

The show drew a solid audience of 9.7 million viewers on its debut night last Monday, and reviews were mostly positive. The New York Times said the story was "lavishly produced by television standards, at a level of visual and technical sophistication" befitting its two years from script to screen.

The dinos of "Terra Nova" don't look or sound like their theatrical predecessors, and for good reason. Jack Horner, the show's paleontology expert who worked with Spielberg on "Jurassic Park" made sure of it.

"Jack set our show in the Cretaceous Period, 85 million years ago," explains visual effects supervisor Kevin Blank. "That's a period where the fossil record is the least defined. They only know about 10 percent of what existed at that time."

So Blank and his team were able to give audiences dinos that audiences may have heard of, like the menacing Carnotaur and the gentle, long-necked Brachiosaurus, as well as some we probably haven't.

NEW DINOS, LOUD ROARS

The Slasher Tails in the premiere episode, for instance, never existed but they might as well have, says executive producer Brannon Braga. "We needed a big, climactic dinosaur, so I thought, 'What's one that didn't exist but could have existed?' Then we just go for the Jack Horner seal of approval, in terms of appearance and behavior. We do that for any animal we create."

Creating the behavior of dinos is "the fun part" for the writers. "You can't just throw a dinosaur up on screen, especially if it's one you're making up," says Braga. "They have to have specific behaviors. Maybe they travel in packs, like the Slashers do. And maybe one scouts the area, and when it finds it's pretty, calls for others. First there are two Slashers ... and then there are a dozen others."

But it is most important that even the made-up dinosaurs look real to audiences. "If a six-year-old who loves and studies dinosaurs spots something that doesn't look right, they'll cry 'Fake!' And Jack says he gets those letters all the time," said Blank.

And that all leaves one critical question. How do the special effects wizards create the sound of a dinosaur?

They're a mixture of sounds, it turns out, but one element is common, they all roar.

"You can use a bear, a lion, a cougar, and we manipulate them so that they fit the size of the creature," said Graham.

For the Carnotaurs, Graham and his team sought to come up with a new terrifying sound. "That was a challenge. The producers definitely didn't want to hear the T. Rex sound. So we had to create a new, intimidating dinosaur sound."

Rick Steele, Graham's chief dino sound designer, injected the sound of a bird -- a condor, in this case -- into the Carno. "You hear it at the tail end when they attack," he explains.

"The hardest part," Steele said, "is to try and create a personality," making the dino vocalizations match the expressions the animators put on their faces.

"Remember, these aren't monsters - they're characters."

(Editing by Bob Tourtellotte)



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Cancer comedy "50/50" hits home for Anjelica Huston

LOS ANGELES | Fri Sep 30, 2011 5:00pm EDT

LOS ANGELES (Reuters) - Oscar winning actress Angelica Huston has often played quirky roles in films like "The Addams Family" and "The Royal Tenenbaums." This weekend, the 60 year-old Hollywood star plays her most "normal" character to date in the cancer comedy "50/50."

The film stars Joseph Gordon-Levitt as a young man whose life changes drastically when he is diagnosed with cancer. Huston plays Diane, his overbearing mother.

Huston's own husband, sculptor Robert Graham Jr., died three years ago, and she talked to Reuters about that life-changing event and how it impacted her character in "50/50." She also revealed she's working on a memoir.

Q: It takes a minute or two to even recognize you in "50/50." What made you decide to wear a frosted wig?

A: "The way I look in life is a bit dramatic for what I wanted for her. Certain roles demand that you take a big step outside yourself. I wanted her to be a middle class woman living in Seattle who shops at the mall, wears blazers and probably would have played golf if she weren't having to go through this ordeal with a son who's sick and a husband who has Alzheimer's."

Q: Did you draw on your own experiences for the role?

A: "I lost my husband a year before I made this movie. So it came from a deeply personal place. I took everything -- all of my experience from the five months I spent with him in (intensive care) to day-to-day occurrences in the hospital -- which was kind of ludicrous at the same time as being heartbreaking. I think so much of what a caregiver does is to bring love and humor to a situation in which they have absolutely no power. That's what I was kind of channeling for Diane."

Q: Is that one of the reasons you accepted the role?

A: "It was coincidental. I don't think it hurt that I'd had the experience. Although, God, I prefer not to have had the experience, no question about that. I didn't accept the role because it was cathartic, I accepted it because it really touched me. I fell in love with this woman who is going through this horrible ordeal, whose presence was suffocating to her son. I understood it from quite a few points of view, from his point of view as well as my own, and the character's."

Q: Were there days on the film that hit too close to home?

A: "Yes. Not to talk about cancer when cancer is in the room is not to talk about the elephant in the room. To be able to talk about the elephant in the room was for me quite a relief at the time. At the same time that it's painful, it's also a wonderful way of exorcising demons and pulling in the demons to have a closer look at them."

Q: Switching gears. You're currently filming the upcoming TV drama "Smash" set in the world of Broadway. Is this your first time doing a TV series?

A: "I've guested a few times, but I've never done a series. I play a Broadway producer and I'm shooting in New York, so I'm out of my comfort home and ground, Los Angeles."

Q: What made you decide to take a series?

A: "Well, I'm a single woman now. I think work is very important for me right now. Something to do with my time, particularly since my life has changed so radically over the last couple of years. But it's good. It takes my mind off other things."

Q: In what way?

A: "The death of a parent is one thing. But the death of a chosen mate is very different because it's the life that you've chosen, not the life that was given to you. The surprise factor when it doesn't go your way is really life changing. You're never prepared for it. You're given hope until the last minute and that's part of what makes it shocking."

Q: You've lived quite a life. Any plans for a memoir?

A: "I started writing my memoirs last year, and I think the publisher is looking at (a publication date of) 2013. I've been asked to write it through the years and this seemed like a good time to do it."

Q: What can we expect to see in it?

A: "So far its memories, dreams, reflections. I'll see what shape it takes."

(Editing by Bob Tourtellotte)



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Art auction will benefit Elton John's AIDS charity

NEW YORK | Fri Sep 30, 2011 1:45pm EDT

NEW YORK (Reuters) - Works by Jeff Koons, Keith Haring and four other artists are expected to raise more than $1 million for Elton John's AIDS Foundation (EJAF) when they are sold at auction in November, Sotheby's said Friday.

Artists including Jim Hodges, Howard Hodgkin and Tracey Emin will also be represented in the November 10 sale of contemporary art during Sotheby's fall auctions.

"All of us at EJAF are tremendously grateful to Sotheby's and to all of the amazing artists who have so generously contributed truly special pieces," John said in a statement.

Artist Cecily Brown donated "Don't Bring Me Down," an oil on linen that is expected to fetch as much as $600,000.

The Keith Haring foundation contributed an untitled work from 1981 depicting three bare-chested men in the trademark graffiti style of the late pop artist, who died of AIDS in 1990 at 31.

Koons' silkscreen "Monkey Train" is estimated to sell for $40,000 to $60,000, Sotheby's said.

"The works on offer ... have been donated directly from an enticing mix of today's leading contemporary artists," said Tobias Meyer, the auction house's worldwide director of contemporary art.

"Their connection to EJAF is certain to appeal to a wide range of today's collectors and philanthropists," he added.

An art auction featuring works by Koons, Jasper Johns and Chuck Close for relief efforts in Haiti raised nearly $14 million earlier this month, setting records for four artists and exceeding the pre-sale estimate of $10 million.

(Reporting by Chris Michaud; editing by Patricia Reaney)



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