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Tag: Movie premieres

  • Warner Bros. Discovery sues Paramount over ‘South Park’ deal

    Warner Bros. Discovery sues Paramount over ‘South Park’ deal

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    NEW YORK — Warner Bros. Discovery Inc. is suing Paramount Global, saying its competitor aired new episodes of the popular animated comedy series “South Park” after Warner paid for exclusive rights.

    Warner says it signed a contract in 2019 paying more than $500 million for the rights to existing and new episodes of the irreverent show, according to a lawsuit filed Friday in New York State Supreme Court.

    HBO Max, Warner’s streaming platform, was scheduled to receive the first episodes of a new “South Park” season in 2020. But the company was informed the pandemic halted production, the lawsuit says.

    In spite of Warner’s exclusive rights to the show until 2025, the company alleges South Park Digital Studios, which produces the shows and is named as a defendant in the lawsuit, offered two pandemic-themed specials to Paramount, which aired them in September 2020 and March 2021.

    The lawsuit claims the pandemic specials should have been offered to Warner under the initial contract. The move, called “verbal trickery” in the lawsuit, drove the show’s fans to the competing Paramount platform. Nearly all South Park episodes premiere on Comedy Central, one of Paramount’s cable channels, the lawsuit says.

    Show creators Matt Stone and Trey Parker, who launched the show in 1997 and oversee the franchise, were not named in the lawsuit.

    Gaining streaming rights to “South Park” is a competitive process because of the potentially lucrative market attracting more subscribers, advertisers and a loyal fan base that Warner’s lawsuit says consists mostly of young adults.

    The 24-page court filing also cites a $900 million deal in 2021 between a Paramount subsidiary and South Park Digital Studios for exclusive content on the Paramount Plus streaming service, which launched the same year.

    Warner claims the deal was a deliberate “scheme” between Paramount, its subsidiary MTV Entertainment Studios and South Park Digital Studios to “divert as much of the new South Park content as possible to Paramount Plus in order to boost that nascent streaming platform.”

    Warner paid $1,687,500 per episode and alleges it has not yet received all episodes covered by the contract, resulting in damages of more than $200 million.

    Paramount Global did not immediately respond to emails from The Associated Press seeking comment on the lawsuit.

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  • ‘A Thousand and One’ wins Sundance grand jury prize

    ‘A Thousand and One’ wins Sundance grand jury prize

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    “A Thousand and One,” a drama about an impoverished single mother and her son in New York City, won the Sundance Film Festival’s grand jury prize in the U.S. dramatic competition, while “Going to Mars: The Nikki Giovanni Project” was awarded the top prize in the U.S. documentary category. This year’s winners were announced at an awards ceremony Friday afternoon in Park City, Utah, which included an audience prize for the documentary “ 20 Days in Mariupol.”

    Writer Jeremy O. Harris, filmmaker Eliza Hittman and actor Marlee Matlin judged the U.S. dramatic competition.

    Harris, through tears, said he asked to give the grand jury prize to “A Thousand and One” and writer-director A.V. Rockwell himself.

    “Never have I seen a life so similar to my own rendered with such nuance and tenderness” Harris said. “This film reached into my gut and pulled from it every emotion I’ve learned to mask in these spaces.”

    Rockwell, who made her feature debut with the film, was similarly emotional.

    “This has been such a long journey for me but the institute has been such a beautiful support system,” Rockwell said.

    “20 Days in Mariupol,” a first-person account of the early days of the Russian invasion of Ukraine, won the audience prize for world cinema documentary. A joint project between The Associated Press and PBS “Frontline,” the film utilizes 30 hours of footage AP journalist Mstyslav Chernov and his colleagues shot in the besieged Ukrainian city before they were extracted.

    “I want to thank everyone who believed in us: AP, Frontline and Sundance and all the audiences who did not turn away,” Chernov said. “This is not an achievement, this is a privilege.”

    Sing J. Lee won the directing award in U.S. dramatic for “The Accidental Getaway Driver.” The team from “ Theater Camp ” was recognized with a special jury prize for ensemble. Lío Mehiel, who goes by they/them pronouns, received the special jury award for their performance in “Mutt,” about a trans-masculine person one day in New York. And the drama “Magazine Dreams,” in which Jonathan Majors plays an amateur bodybuilder, was recognized for creative vision.

    “Everyone in this room, everyone, every person, we give you our deepest props and our deepest respect,” Matlin said through an interpreter. She also gave a shout-out to her “CODA” team, who won big at the festival two years ago. Her Oscar winning co-star Troy Kotsur was in the audience cheering her on.

    Other grand jury prizes winners were: “Scrapper,” in world cinema, about a 12-year-old girl living alone on the outskirts of London after her mother’s death; and “The Eternal Memory,” in world cinema documentary, about the effects of Alzheimer’s on a relationship of 25 years. “Kokomo City,” about the lives of Black, trans sex workers, won the NEXT innovator award and the audience award in the NEXT category.

    Other audience award winners included “The Persian Version,” for U.S. Dramatic, “Beyond Utopia,” for U.S. Documentary and “Shayda” for World Cinema Dramatic. The “festival favorite” award went to “Radical,” starring Eugenio Derbez as an inspirational teacher in a Mexican border town.

    In total, 12 films premiered in the world cinema documentary section, including films about climate change, Syria, growing up during apartheid and the International Chopin Piano Competition. “The Eternal Memory,” about a couple dealing with Alzheimer’s, won the category’s grand jury prize.

    Other prize winners in the category included “Fantastic Machine,” for creative vision, “Against the Tide” for verité filmmaker, and “Smoke Sauna Sisterhood” for directing.

    Several Sundance winners from last year were recently nominated for Oscars, including documentaries “Navalny” and “All That Breathes.”

    Many Sundance films came to the festival with distribution in place. Apple TV+ debuted “Still: A Michael J. Fox Story” and “Stephen Curry: Underrated.” Neon had “Infinity Pool,” A24 brought six films including “All Dirt Roads Taste of Salt,” “You Hurt My Feelings,” “Past Lives.” Searchlight had the South London rom com “Rye Lane.”

    There were also several big acquisitions made at the festival this year. Apple TV+, who got its first best picture win when it paid $25 million for “CODA” out of Sundance, scooped up John Carney’s (“Once”) musical rom com “Flora and Son,” with Eve Hewson and Joseph Gordon Levitt. Netflix secured the rights to the corporate thriller “Fair Play,” with Alden Ehrenreich and Phoebe Dynevor, made and sold by MRC. Both films went for a reported $20 million. Searchlight also bought Molly Gordon and Nick Lieberman’s mockumentary “Theater Camp” for a theatrical release later this year.

    This year’s festival, the first in-person gathering since 2020, debuted 111 feature films and 64 short films. Over 75% of the films are available on Sundance’s online platform through Sunday, January 29.

    “We’re already thinking about the next one,” Sundance CEO Joana Vicente said.

    ___

    For more coverage of the Sundance Film Festival, visit: https://apnews.com/hub/sundance-film-festival.

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  • Willie Nelson to celebrate 90th birthday at all-star concert

    Willie Nelson to celebrate 90th birthday at all-star concert

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    NASHVILLE, Tenn. (AP) — Texas troubadour Willie Nelson will celebrate his 90th birthday with his friends and family at an all-star two-day concert at the Hollywood Bowl this April.

    The Grammy-winning country icon’s milestone birthday party will take place on April 29-30 and feature Nelson and dozens of performers, including Neil Young, Chris Stapleton, Lyle Lovett, Miranda Lambert, Rosanne Cash, Snoop Dogg, The Chicks, Kacey Musgraves and many more.

    Six decades into his career, the singer-songwriter, author and activist is still going strong, with a new album — “I Don’t Know a Thing About Love” — coming in March and a five-part documentary premiering at the Sundance Film Festival. He’s also nominated for four Grammys this year. Some of his biggest hits include “On The Road Again,” “Crazy” and “Funny How Time Slips Away.”

    Additional performers include Norah Jones, Tom Jones, Tyler Childers, Warren Haynes, Ziggy Marley, Sturgill Simpson, Allison Russell, Beck, Billy Strings, Bobby Weir, Charley Crockett, Edie Brickell, Leon Bridges, Margo Price, Nathaniel Rateliff, Orville Peck, Sheryl Crow, The Avett Brothers, The Lumineers, and Nelson’s sons, Lukas Nelson and Micah Nelson, the latter of whom performs as Particle Kid.

    Tickets for the concerts go on sale to the general public on Jan. 28, with a presale starting on Wednesday.

    __

    Online: WillieNelson90.com

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  • Tennis ace Boris Becker recalls prison loneliness, friends

    Tennis ace Boris Becker recalls prison loneliness, friends

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    BERLIN — Tennis great Boris Becker tearfully recounted the moment the door of his single-occupancy cell at Britain’s notorious Wandsworth prison closed for the first time, speaking publicly after serving eight months for bankruptcy offenses.

    “It was the loneliest moment I’ve ever had in life,” Becker said in an interview with German broadcaster SAT.1 that aired Tuesday, recalling how hours earlier he had been unable to say farewell to his loved ones before being led downstairs to the courtroom jail.

    The three-time Wimbledon champion ​​was sentenced to 30 months in prison in April for illicitly transferring large amounts of money and hiding assets after he was declared bankrupt. Becker would normally have had to serve half of his sentence before being eligible for release, but was released early under a fast-track deportation program for foreign nationals.

    Becker, who was deported to his native Germany on Dec. 15, said he prayed daily in the three weeks between his conviction and sentencing, conscious that there was a chance he might not get away with a suspended sentence.

    Arriving in Wandsworth, the 55-year-old Becker said he feared attacks by other inmates.

    “The many films I saw beforehand didn’t help,” he said.

    Becker said prison authorities appeared to have tried to ensure his safety, allocating him a single cell and getting three experienced inmates — or “listeners” — to guide him in his new life behind bars.

    That included coping with the lack of food, Becker said, as prison fare was largely restricted to rice, potatoes and sauce. “Sunday roasts” consisted of a chicken drumstick, he said.

    “I felt hunger for the first time in my life,” said Becker, who won the first of many millions of dollars as a player at the age of 17.

    Violence was a problem, he said, recounting instances at Wandsworth and later at HMP Huntercombe where inmates threatened to harm him until others stepped in.

    In November, fellow prisoners organized several cakes for his birthday, Becker said.

    “I’ve never experienced such solidarity in the free world,” he said, adding that he planned to stay in touch with some of the people he’d met in prison.

    For Becker, who rose to stardom in 1985 at age 17 when he became the first unseeded player to win the men’s singles title at Wimbledon, the prison sentence was a heavy blow.

    Asked about the judge’s statement that Becker had shown “no humility,” he acknowledged in the interview that “maybe I should have (been) even more clear, more emotional.”

    Becker also admitted fault.

    “Of course I was guilty,” he said of the four out of 29 counts he was convicted on.

    Still, Becker said he “it could have been much worse.”

    After retiring from professional tennis in 1999, the six-time Grand Slam champion worked as a coach and television pundit while also engaging in a wide range of investments and celebrity poker games.

    Now he hopes to turn a new page and avoid the mistakes he made in the past — many of which he blamed on laziness and bad financial advice received from others.

    “For years I made mistakes, I had false friends,” he said. “I think this time in prison brought me back.”

    Becker’s time outside the limelight likely won’t last long. Organizers of the annual Berlinale said Tuesday that next year’s film festival will feature the premiere of an as-yet untitled documentary about Becker by Oscar-winning director Alex Gibney.

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  • Sundance Film Festival unveils lineup for 2023 edition

    Sundance Film Festival unveils lineup for 2023 edition

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    Documentaries about Brooke Shields, Judy Blume and Michael J. Fox, films from veteran directors like Nicole Holofcener, an adaptation of the viral New Yorker story “Cat Person” and the feature directorial debut of actors Alice Englert and Randall Park are among the world premieres set for the Sundance Film Festival in January.

    Programmers for the world’s most prestigious showcase for independent films announced the lineup for the 2023 edition on Wednesday. After two pandemic hobbled years, plans are in motion to return to Park City in full force for the festival which runs from January 19 through January 29, with stars like Anne Hathaway, Tiffany Haddish, Julia Louis-Dreyfus, Alexander Skarsgård, Gael García Bernal, Cynthia Erivo, Daisy Ridley and Jonathan Majors headlining some of the 101 feature films in the slate. Tickets are currently on sale.

    The festival which helped launch the careers of filmmakers from Steven Soderbergh to Ryan Coogler, is once again celebrating a diverse slate of features from first-time filmmakers. Among the narrative features premiering, 16 are from first time directors, 7 of whom are women. In feature documentaries 16 are from first timers and 14 of those are women.

    “First time filmmakers are in the DNA of the festival. We’re always looking to find fresh voices to champion,” said Kim Yutani, the festival’s director of programming. “It’s such a pleasant surprise to look back and see those numbers and our program and to know that that organically happens.”

    As always, there are exciting documentaries about well-known names. Lana Wilson’s “Pretty Baby: Brooke Shields” charts the actor and model’s early days, when photographers and filmmakers depicted Shields in sexualized way as a very young girl, and how she found her agency. Davis Guggenheim in “Still: A Michael J. Fox Movie” looks at what happens when “an incurable optimist confronts an incurable disease.” There are also documentaries about Little Richard, food writer Ruth Reichl, pioneering Black fashion model Bethann Hardison and the Indigo Girls.

    In the U.S. Dramatic Competition, the section in which “CODA” debuted in 2021 before going on to win best picture at the Oscars, Molly Gordon and Nick Lieberman make their debut with “Theater Camp,” a Will Ferrell-produced comedy about a rundown theater camp in upstate New York scrambling to get ready for summer that stars Ben Platt. Jonathan Majors plays an amateur bodybuilder in Elijah Bynum’s “Magazine Dreams,” while Daisy Ridley shows her non-Star Wars chops in Rachel Lambert’s “Sometimes I Think About Dying,” which is among the day one premieres.

    “Shortcomings,” an adaptation of Adrian Tomine’s graphic novel, is the debut of “Fresh Off the Boat” star Randall Park, who directs Justin H. Min, Sherry Cola and Ally Maki in a comedic, irreverent look at Asian Americans in the Bay Area.

    Also making her feature directorial debut is Alice Englert with “Bad Behaviour,” a mother-daughter film about a former child actor, played by Jennifer Connelly, and mother to a stunt-performer daughter, who is looking for some enlightenment. Englert, whose own mother is Jane Campion, plays the daughter in the dark comedy about a toxic, co-dependent relationship, co-starrinng Ben Whishaw as a new age guru. Whishaw can also be seen alongside Adèle Exarchopoulos in Ira Sachs’ “Passages” about attraction and emotional abuse.

    Fans of “The Bear” may take interest in “Fremont,” about a former military translator who now works at a Chinese fortune cookie factory and features a supporting performance from Jeremy Allen White, while Ayo Edebiri co-stars in “Theater Camp.”

    “Succession” watchers will also find some of the show’s stars various films throughout the slate, like Sarah Snook getting to use her native Australian accent in Daina Reid’s “Run Rabbit Run,” about a fertility doctor grappling with ghosts from her past, and Nicholas Braun who lends a supporting hand in Susanna Fogel’s adaptation of “Cat Person,” starring Emilia Jones as the college student who gets involved with a 30-something man.

    Jones also anchors “Fairyland,” the Sofia Coppola-produced and Andrew Durham-directed adaptation of Alyssa Abbott’s best-selling memoir about a father-daughter relationship in San Francisco at the dawn of the AIDs crisis.

    The premieres section, which has debuted the likes of “Promising Young Woman” and “The Big Sick,” has many starry options. Thomasin McKenzie and Anne Hathaway co-star in William Oldroyd’s “Eileen” about a young secretary who becomes fascinated with a glamorous new counselor at the prison where she works in Massachusetts in 1964.

    Sundance veteran and documentary director Roger Ross Williams makes his narrative debut with “Cassandro,” starring Gael García Bernal as Saúl Armendáriz, a gay amateur wrestler from El Paso who becomes an international star. And Nicole Holofcener reunites with Julia Louis-Dreyfus for “You Hurt My Feelings,” about a novelist who overhears her husband’s “honest reaction” to her new book.

    Senior programmer John Nein noted that there are quite a few diaspora films represented in the various sections as well.

    “They reflect the changing film cultures of some of the places from which they come,” he said.

    Noora Niasari’s “Shayda” is about an Iranian woman (played by Zar Amir Ebrahimi ) with a 6-year-old daughter seeking refuge from an abusive relationship in a shelter in Australia. From the United Kingdom, there is “Girl,” from Adura Onashile about an 11-year-old and her mother who are from Africa. In the midnight section there is Nida Manzoor’s fun genre piece “Polite Society” about a wedding heist. And from the U.S., Sing J. Lee has “The Accidental Getaway Driver” about a Vietnamese cab driver taken hostage by escaped convicts in California.

    There are dozens of documentaries that focus on some of the most pressing issues of the moment, too, like Razelle Benally’s “Murder in Big Horn,” about the deaths of Native women in rural Montana, Tracy Droz Tragos’ “PLAN C” about a grassroots organization in the U.S. fighting to expand access to abortion pills, and Nancy Schwartzman helps uncover a troubling pattern of women reporting sexual assault who are then charged with creating a false report in “Victim/Suspect.” “20 Days in Mariupol,” directed by AP videojournalist Mstyslav Chernov in partnership with Frontline, gives an unprecedented look at the work of Ukrainian journalists trapped in Mariupol at the beginning of the Russian invasion.

    “These filmmakers reflect the world around us through bold and thrilling storytelling,” said Joana Vicente, CEO of the Sundance Institute. “It is critical for the arts to foster dialogue, especially during unprecedented times — these stories are needed to provoke discussion, share diverse viewpoints, and challenge us.”

    —-

    Follow AP Film Writer Lindsey Bahr: www.twitter.com/ldbahr.

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  • Jury orders Filmmaker Paul Haggis to pay $7.5M in rape suit

    Jury orders Filmmaker Paul Haggis to pay $7.5M in rape suit

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    NEW YORK — A jury ordered Academy Award-winning filmmaker Paul Haggis Thursday to pay at least $7.5 million to a woman who accused him of rape in one of several #MeToo-era cases that have put Hollywood notables’ behavior on trial this fall. Jurors also plan to award additional punitive damages.

    Veering from sex to red-carpet socializing to Scientology, the civil court trial pitted Haggis, known for writing best picture Oscar winners “Million Dollar Baby” and “Crash,” against Haleigh Breest, a publicist who met him while working at movie premieres in the early 2010s.

    After hugging her lawyers, Breest said she was “very grateful” for the verdict as she left court. In a statement released later, she said she was thankful “that the jury chose to follow the facts — and believed me.”

    Haggis said he was “very disappointed in the results.”

    “I’m going to continue to, with my team, fight to clear my name,” he said as he left the courthouse with his three adult daughters. One had wept on a sister’s shoulder as the verdict was delivered.

    After a screening afterparty in January 2013, Haggis offered Breest a lift home and invited her to his New York apartment for a drink.

    Breest, 36, said Haggis then subjected her to unwanted advances and ultimately compelled her to perform oral sex and raped her despite her entreaties to stop. Haggis, 69, said the publicist was flirtatious and, while sometimes seeming “conflicted,” initiated kisses and oral sex in an entirely consensual interaction. He said he couldn’t recall whether they had intercourse.

    After a day of deliberating, jurors sided with Breest, who said she suffered psychological and professional consequences from her encounter with Haggis. She sued in late 2017.

    While awarding her $7.5 million to compensate for suffering, the jury concluded that punitive damages should also be awarded. Jurors return Monday for more court proceedings to help them decide that amount.

    The verdict came weeks after another civil jury, in the federal courthouse next door, decided that Kevin Spacey didn’t sexually abuse fellow actor and then-teenager Anthony Rapp in 1986. Meanwhile, “That ’70s Show” actor Danny Masterson and former movie magnate Harvey Weinstein are on trial, separately, on criminal rape charges in Los Angeles. Both deny the allegations, and Weinstein is appealing a conviction in New York.

    All four cases followed the #MeToo upwelling of denunciations, disclosures and demands for accountability about sexual misconduct, triggered by October 2017 news reports on decades of allegations about Weinstein.

    Breest, in particular, said she decided to sue Haggis because his public condemnations of Weinstein infuriated her.

    Four other women also testified that they experienced forceful, unwelcome passes — and in one case, rape — by Haggis in separate encounters going back to 1996. None of the four took legal action.

    The Associated Press generally does not identify people who say they have been sexually assaulted unless they come forward publicly, as Breest has done.

    Haggis denied all of the allegations. His defense, meanwhile, introduced jurors to several women — including ex-wife and former longtime “Dallas” cast member Deborah Rennard — who said the screenwriter-director took it in stride when they rebuffed his romantic or sexual overtures.

    During three weeks of testimony, the trial scrutinized text messages that Breest sent to friends about what happened with Haggis, emails between them before and after the night in question, and some differences between their testimony and what they said in early court papers.

    The two sides debated whether Haggis was physically capable of carrying out the alleged attack eight weeks after a spinal surgery. Psychology experts offered dueling perspectives about what one called widespread misconceptions about rape victims’ behavior, such as assumptions that victims would have no subsequent contact with their attackers.

    And jurors heard extensive testimony about the Church of Scientology, the religion founded by science fiction and fantasy author L. Ron Hubbard in the 1950s. Haggis was an adherent for decades before publicly renouncing, and denouncing, Scientology in 2009.

    Through testimony from Haggis and other ex-members, his defense argued that the church set out to discredit him and might have had something to do with the lawsuit.

    No witnesses said they knew that Haggis’ accusers or Breest’s lawyers had Scientology ties, and his lawyers acknowledged that Breest herself does not. Still, Haggis lawyer Priya Chaudhry sought to persuade jurors that there were “the footprints, though maybe not the fingerprints, of Scientology’s involvement here.”

    The church said in a statement that it has no involvement in the matter, arguing that Haggis is trying to shame his accusers with an “absurd and patently false” claim. Breest’s lawyers, Ilann Maazal and Zoe Salzman, have called it “a shameful and unsupported conspiracy theory.”

    The Canadian-born Haggis penned episodes of such well-known series as “Diff’rent Strokes” and “Thirtysomething” in the 1980s. He broke into movies with a splash with “Million Dollar Baby” and “Crash,” which he also directed and co-produced. Each film won the Academy Award for best picture, for 2004 and 2005 respectively, and Haggis also won a screenwriting Oscar for “Crash.”

    His other credits include the screenplays for the James Bond movies “Casino Royale” and “Quantum of Solace.”

    ———

    Associated Press journalist Ted Shaffrey contributed.

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  • Jury: Filmmaker Paul Haggis liable for $7.5M in rape suit

    Jury: Filmmaker Paul Haggis liable for $7.5M in rape suit

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    NEW YORK — A jury ordered Academy Award-winning filmmaker Paul Haggis Thursday to pay at least $7.5 million to a woman who accused him of rape in one of several #MeToo-era cases that have put Hollywood notables’ behavior on trial this fall. The jury also plans to award additional punitive damages.

    Veering from sex to red-carpet socializing to Scientology, the civil court trial pitted Haggis, known for writing best picture Oscar winners “Million Dollar Baby” and “Crash,” against Haleigh Breest, a publicist who met him while working at movie premieres in the early 2010s. After a screening afterparty in January 2013, he offered her a lift home and invited her to his New York apartment for a drink.

    After hugging her lawyers, Breest said she was “very grateful” for the verdict as she left court. Haggis declined to comment.

    He sat stock-still as the verdict was read, then turned to look at his three adult daughters in the courtroom audience. One had been crying on a sister’s shoulder.

    Breest, 36, said Haggis then subjected her to unwanted advances and ultimately compelled her to perform oral sex and raped her despite her entreaties to stop. Haggis, 69, said the publicist was flirtatious and, while sometimes seeming “conflicted,” initiated kisses and oral sex in an entirely consensual interaction. He said he couldn’t recall whether they had intercourse.

    Jurors sided with Breest, who said she suffered psychological and professional consequences from her encounter with Haggis. She sued in late 2017.

    “I thought I was getting a ride home. I agreed to have a drink. What happened never should have happened. And it had nothing to do with me, and everything to do with him and his actions,” she told jurors last month.

    While awarding her $7.5 million to compensate for suffering, the jury concluded that punitive damages should also be awarded. Jurors return Monday for more court proceedings to help them decide that amount.

    The verdict came weeks after another civil jury, in the federal courthouse next door, decided that Kevin Spacey didn’t sexually abuse fellow actor and then-teenager Anthony Rapp in 1986. Meanwhile, “That ’70s Show” actor Danny Masterson and former movie magnate Harvey Weinstein are on trial, separately, on criminal rape charges in Los Angeles. Both deny the allegations, and Weinstein is appealing a conviction in New York.

    All four cases followed the #MeToo upwelling of denunciations, disclosures and demands for accountability about sexual misconduct, triggered by October 2017 news reports on decades of allegations about Weinstein.

    Breest, in particular, said she decided to sue Haggis because his public condemnations of Weinstein infuriated her: “This man raped me, and he is presenting himself as a champion of women to the world,” she recalled thinking.

    Four other women also testified that they experienced forceful, unwelcome passes — and in one case, rape — by Haggis in separate encounters going back to 1996. None of the four took legal action.

    “The behavior showed me that he was somebody who was never going to stop,” one woman testified, saying that Haggis repeatedly tried to kiss her against her will and even followed her into and out of a taxi to her apartment in Toronto in 2015. His lawyers sought to assail the accusers’ credibility.

    The Associated Press generally does not identify people who say they have been sexually assaulted unless they come forward publicly, as Breest has done.

    Haggis denied all of the allegations. He told jurors the accusations left him shaken.

    “I’m scared because I don’t know why women, why anyone, would lie about things like this,” he said. His defense, meanwhile, introduced jurors to several women — including ex-wife and former longtime “Dallas” cast member Deborah Rennard — who said the screenwriter-director took it in stride when they rebuffed his romantic or sexual overtures.

    During three weeks of testimony, the trial scrutinized text messages that Breest sent to friends about what happened with Haggis, emails between them before and after the night in question, and some differences between their testimony and what they said in early court papers.

    The two sides debated whether Haggis was physically capable of carrying out the alleged attack eight weeks after a spinal surgery. Psychology experts offered dueling perspectives about what one called widespread misconceptions about rape victims’ behavior, such as assumptions that victims would have no subsequent contact with their attackers.

    And jurors heard extensive testimony about the Church of Scientology, the religion founded by science fiction and fantasy author L. Ron Hubbard in the 1950s. Haggis was an adherent for decades before publicly renouncing, and denouncing, Scientology in 2009.

    Through testimony from Haggis and other ex-members, his defense argued that the church set out to discredit him and might have had something to do with the lawsuit.

    No witnesses said they knew that Haggis’ accusers or Breest’s lawyers had Scientology ties, and his lawyers acknowledged that Breest herself does not. Still, Haggis lawyer Priya Chaudhry sought to persuade jurors that there were “the footprints, though maybe not the fingerprints, of Scientology’s involvement here.”

    The church said in a statement that it has no involvement in the matter, arguing that Haggis is trying to shame his accusers with an “absurd and patently false” claim. Breest’s lawyers have called it “a shameful and unsupported conspiracy theory.”

    The Canadian-born Haggis got his start as a TV writer, eventually penning episodes of such well-known 1980s series as “Diff’rent Strokes” and “Thirtysomething.” He broke into movies with a splash with “Million Dollar Baby” and “Crash,” which he also directed and co-produced. Each film won the Academy Award for best picture, for 2004 and 2005 respectively, and Haggis also won a screenwriting Oscar for “Crash.”

    His other credits include the Oscar-nominated screenplay for “Letters From Iwo Jima” and the screenplays for the James Bond movies “Casino Royale” and “Quantum of Solace.”

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  • Jury: Filmmaker Paul Haggis liable for $7.5M in rape suit

    Jury: Filmmaker Paul Haggis liable for $7.5M in rape suit

    [ad_1]

    NEW YORK — A jury ordered Academy Award-winning filmmaker Paul Haggis Thursday to pay at least $7.5 million to a woman who accused him of rape in one of several #MeToo-era cases that have put Hollywood notables’ behavior on trial this fall. The jury also decided that additional punitive damages should be awarded, but the amount is to be decided later.

    Veering from sex to red-carpet socializing to Scientology, the civil court trial pitted Haggis, known for writing best picture Oscar winners “Million Dollar Baby” and “Crash,” against Haleigh Breest, a publicist who met him while working at movie premieres in the early 2010s. After a screening afterparty in January 2013, he offered her a lift home and invited her to his New York apartment for a drink.

    Breest, 36, said Haggis then subjected her to unwanted advances and ultimately compelled her to perform oral sex and raped her despite her entreaties to stop. Haggis, 69, said the publicist was flirtatious and, while sometimes seeming “conflicted,” initiated kisses and oral sex in an entirely consensual interaction. He said he couldn’t recall whether they had intercourse.

    Jurors sided with Breest, who said she suffered psychological and professional consequences from her encounter with Haggis. She sued in late 2017.

    “I thought I was getting a ride home. I agreed to have a drink. What happened never should have happened. And it had nothing to do with me, and everything to do with him and his actions,” she told jurors.

    The verdict came weeks after another civil jury, in the federal courthouse next door, decided that Kevin Spacey didn’t sexually abuse fellow actor and then-teenager Anthony Rapp in 1986. Meanwhile, “That ’70s Show” actor Danny Masterson and former movie magnate Harvey Weinstein are on trial, separately, on criminal rape charges in Los Angeles. Both deny the allegations, and Weinstein is appealing a conviction in New York.

    All four cases followed the #MeToo upwelling of denunciations, disclosures and demands for accountability about sexual misconduct, triggered by October 2017 news reports on decades of allegations about Weinstein.

    Breest, in particular, said she decided to sue Haggis because his public condemnations of Weinstein infuriated her: “This man raped me, and he is presenting himself as a champion of women to the world,” she recalled thinking.

    Four other women also testified that they experienced forceful, unwelcome passes — and in one case, rape — by Haggis in separate encounters going back to 1996. None of the four took legal action.

    “The behavior showed me that he was somebody who was never going to stop,” one woman testified, saying that Haggis repeatedly tried to kiss her against her will and even followed her into and out of a taxi to her apartment in Toronto in 2015. His lawyers sought to assail the accusers’ credibility.

    The Associated Press generally does not identify people who say they have been sexually assaulted unless they come forward publicly, as Breest has done.

    Haggis denied all of the allegations. He told jurors the accusations left him shaken.

    “I’m scared because I don’t know why women, why anyone, would lie about things like this,” he said. His defense, meanwhile, introduced jurors to several women — including ex-wife and former longtime “Dallas” cast member Deborah Rennard — who said the screenwriter-director took it in stride when they rebuffed his romantic or sexual overtures.

    During three weeks of testimony, the trial scrutinized text messages that Breest sent to friends about what happened with Haggis, emails between them before and after the night in question, and some differences between their testimony and what they said in early court papers.

    The two sides debated whether Haggis was physically capable of carrying out the alleged attack eight weeks after a spinal surgery. Psychology experts offered dueling perspectives about what one called widespread misconceptions about rape victims’ behavior, such as assumptions that victims would have no subsequent contact with their attackers.

    And jurors heard extensive testimony about the Church of Scientology, the religion founded by science fiction and fantasy author L. Ron Hubbard in the 1950s. Haggis was an adherent for decades before publicly renouncing, and denouncing, Scientology in 2009.

    Through testimony from Haggis and other ex-members, his defense argued that the church set out to discredit him and might have had something to do with the lawsuit.

    No witnesses said they knew that Haggis’ accusers or Breest’s lawyers had Scientology ties, and his lawyers acknowledged that Breest herself does not. Still, Haggis lawyer Priya Chaudhry sought to persuade jurors that there were “the footprints, though maybe not the fingerprints, of Scientology’s involvement here.”

    The church said in a statement that it has no involvement in the matter, arguing that Haggis is trying to shame his accusers with an “absurd and patently false” claim. Breest’s lawyers have called it “a shameful and unsupported conspiracy theory.”

    The Canadian-born Haggis got his start as a TV writer, eventually penning episodes of such well-known 1980s series as “Diff’rent Strokes” and “Thirtysomething.” He broke into movies with a splash with “Million Dollar Baby” and “Crash,” which he also directed and co-produced. Each film won the Academy Award for best picture, for 2004 and 2005 respectively, and Haggis also won a screenwriting Oscar for “Crash.”

    His other credits include the Oscar-nominated screenplay for “Letters From Iwo Jima” and the screenplays for the James Bond movies “Casino Royale” and “Quantum of Solace.”

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  • Rape accuser testifies against filmmaker Paul Haggis

    Rape accuser testifies against filmmaker Paul Haggis

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    NEW YORK — He was a famous moviemaker. She was a publicist working a film premiere where he was a VIP guest. He’d offered her a lift home and then invited her to his apartment for a drink.

    Once there screenwriter-director Paul Haggis abruptly tried to kiss her, backed her into his refrigerator, and had a question for her, accuser Haleigh Breest told a jury Thursday.

    “Are you scared of me?” he asked, according to her testimony.

    And so began, Breest said, a sexual assault that ended with the Oscar winner raping her. She’s suing him in a civil case that’s now on trial.

    Haggis maintains the 2013 encounter was consensual, and his lawyer has argued that Breest called it rape because she’s out for money. She’s seeking unspecified damages.

    In a steady, unsparing tone, Breest recounted what she said was a terrifying, painful attack that left her shocked and “really struggling to comprehend what had happened.”

    “I couldn’t understand how somebody who seemed like a nice guy would do that,” she said.

    As she spoke without looking at him, Haggis, 69, watched largely expressionlessly, sometimes rubbing his bearded chin or taking notes.

    The Associated Press generally doesn’t identify people who say they have been sexually assaulted unless they come forward publicly, as Breest has done.

    Breest, now 36, said she first met the “Crash” and “Million Dollar Baby” screenwriter in 2012 at a premiere afterparty where she was working.

    Breest and Haggis exchanged occasional professional emails and party chitchat, she said, over the months before their paths crossed again at another premiere party she worked on Jan. 31, 2013.

    A tipsy — but not stumbling drunk — Breest accepted the filmmaker’s offer of a ride, and then his invitation for a drink, she told jurors. She said she suggested someplace public instead, but he pushed for his apartment in Manhattan’s SoHo neighborhood, and she didn’t want to offend one of her employer’s red-carpet guests.

    “But just so you know,” she testified that she told him, “I’m not sleeping in SoHo tonight.”

    Yet Haggis’ advances began as soon as she put her bags down in his loft’s open kitchen, Breest said.

    “You’ve been flirting with me for months,” he soon said, according to her.

    “I don’t even know you,” she said she replied.

    Breest said she dodged him and thought she’d politely defused the situation when he started showing her the apartment. But when they reached a guest bedroom, Haggis “became aggressive very quickly,” pushed her onto the bed and pulled off her tights and clothes as she tried to keep them on and told him to stop, she said.

    Then, she said, he forced her to perform oral sex and wanted intercourse. She said she asked to take a shower as a subtle way to get out of the room, but he followed her there, then steered her back to the guest bedroom and made a further series of unwanted sexual moves that culminated in rape.

    “I was like a trapped animal. There was nothing for me to do,” she said.

    Breest said she passed out soon afterward, awoke alone on the bed the next morning and left without seeing Haggis again.

    That day and in the ensuing months, Breest said, she told a half-dozen friends that she had been sexually assaulted, naming Haggis to some. She said she informed her boss the next year that Haggis had done something bad to her.

    Breest didn’t tell police. She testified that she was scared and concerned about how her allegation would be handled.

    Nor did she confront Haggis when he emailed her the day after the encounter to ask about photos from the premiere. Nor at subsequent screenings or in emails, some of which she initiated, about social events and movie matters.

    “I didn’t want my work experience to be awkward,” she testified, so “I pretended like everything was normal. And it wasn’t.”

    Behind the scenes, Breest anguished over what had happened and what to do, according to text and other electronic messages shown in court.

    The communications, sent to friends, veer from frank descriptions of forced sex — “and I kept saying no” — to moments when she seemed to downplay it (“it sort of is” rape).

    At times she said she wanted to avoid Haggis, at others she mused about seeing him again to try to regain some equanimity and “not be the victim.” The messages are salted with lighthearted texting slang — “lol,” “omg,” “haha” — that Breest says were attempts to use humor to defang a tough subject.

    Haggis hasn’t testified thus far, and his lawyers haven’t yet gotten their chance to question Breest. In an opening statement, defense attorney Priya Chaudhry pointed to some of the accuser’s messages — such as a comment that she needs “to get something out of this” — to question her credibility.

    Breest said her remarks just reflect her horror at being victimized, her desire to seize back a sense of control in her life, and her confusion at how someone she thought well of could violently turn on her.

    Now, she said, she understands that night.

    “I thought I was getting a ride home. I agreed to have a drink. What happened never should have happened,” she told the jury. “And it had nothing to do with me, and everything to do with him and his actions.”

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  • Suit over rape claim against filmmaker Haggis heads to trial

    Suit over rape claim against filmmaker Haggis heads to trial

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    NEW YORK — Opening statements are expected Wednesday in a civil case brought by a publicist who accused Oscar-winning filmmaker Paul Haggis of raping her almost a decade ago.

    Jury selection began Monday in a Manhattan courtroom.

    The lawsuit was filed in 2017 as a wave of sexual misconduct accusations against prominent men was propelling the #MeToo movement to new visibility. At least four other women subsequently alleged that Haggis, a screenwriter known for “Crash” and “Million Dollar Baby,” sexually assaulted them or tried to do so.

    The New York lawsuit centers on publicist Haleigh Breest’s allegation that Haggis offered her a ride home from a movie premiere, invited her to his Manhattan apartment for a drink, rebuffed her suggestion that they go to a public bar instead, and then raped her at the apartment.

    The filmmaker, who declined to comment as he left court Monday, maintains that the encounter was consensual.

    His defense may also feature an allegation of sinister intrigue: His lawyers have suggested that the Church of Scientology engineered false accusations of sexual misdeeds to ruin Haggis, a former longtime member who became an outspoken critic.

    The church has said it had no involvement in the allegations against Haggis, and his accuser’s lawyers have called it “a shameful and unsupported conspiracy theory unworthy of any trial proceeding.”

    But Judge Sabrina Kraus ruled last month that Haggis’ lawyers can bring up Scientology, saying that “the jury is entitled to be informed of any possible motive (the) plaintiff may have and about the church’s efforts to discredit Haggis.”

    No criminal charges were filed in connection with Breest’s accusation. Her lawsuit could mean a financial penalty, but not prison or probation for Haggis if she prevails. She is seeking unspecified damages.

    After the suit was filed in late 2017, three other women told her attorneys and The Associated Press that Haggis had sexually assaulted them or attempted to do so. One said he had raped her. In response, his lawyer said Haggis “didn’t rape anybody.”

    Kraus ruled last month that those three women can also testify as part of Breest’s effort to demonstrate Haggis’ “intent and lack of consent.”

    Jurors won’t be allowed to hear that Haggis was detained for about two weeks at an Italian hotel in June while authorities investigated allegations that he sexually assaulted a woman there. Haggis was in Italy for an arts festival.

    Haggis’ Italian attorney said the filmmaker was innocent, and in early July, a judge released him while prosecutors considered whether to pursue their inquiry. The judge concluded that Haggis hadn’t engaged in “constrictive violent behavior,” according to the newspaper Corriere della Sera.

    The Associated Press does not usually name people alleging sexual assault unless they come forward publicly, as Breest has done.

    The Canadian-born Haggis wrote “Million Dollar Baby” and “Crash,” which won back-to-back Academy Awards for best picture in the mid-2000s. He also directed and was a producer of “Crash,” which garnered him and Bobby Moresco the best original screenplay Oscar in 2006. The next year, Haggis was nominated in the same category for “Letters from Iwo Jima.”

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