The Human Centipede director Tom Six mad a surprise appearance at the London FrightFest where BC was on hand to get all the details on the forthcoming sequel. Already revealed to be attaching 12 humans, The Human Centipede: Full Sequence will be “100% medically INaccurate,” he explained adding “part one will be my little pony compared to this one.” BC also writes in that the sequel is filming in London so that it can be entirely in English. The plan is to wrap by December and premiere at the Sundance Film Festival in January. Six did show some photographs, although BC didn’t tell us what was on display. Six also laughed about the porn version, and joked that “people want to castrate me!” Expect some first looks online in the coming months.

The Walking Dead Wins Season Two…Before the first one even airs

The story of Frank Darabont’s attempt to bring Robert Kirkman’s beloved zombie comic The Walking Dead to TV screens has, in the last year or so, been filled largely with good news. It got picked up by network AMC, went quickly from pilot to first series commission (AMC’s usual six episode kick-off), and has been building some healthy buzz, particularly after the trailer was shown at Comic-Con and arrived online. Now there’s another milestone passed as the show has won a second season before a frame of the first has even aired.

Fangoria reports that the show has been officially renewed, with filming set to start in February next year. And in keeping with AMC’s usual schedule, the next season will be 13 episodes.

B-D just stumbled upon this HUGE poster showing star David Tennant (aka “Dr. Who”) as Peter Vincent in the Touchstone Fright Night remake; in this incarnation, Vincent is a Las Vegas magician instead of a late-night horror movie TV host. The poster, hanging from a bank of glass elevators in a hotel lobby, is confirmed to be tied to the remake and is presumably a faux-advertisement for the Vincent character’s macabre stage show, conveniently titled…wait for it…Fright Night!

If you’re an actor who lands a lead role on a TV series, you can count on a big payday. But it won’t be as big as it used to be.

Network and studio executives tell TV Guide Magazine they’ve adopted a get-tough policy on salaries for stars of the new fall shows. While the salary for a lead has been $150,000 to $200,000 per episode in recent years, most deals for stars of new series were between $75,000 and $125,000. “No one broke the bank on anything this year,” says one former studio head.

A case in point is a negotiation with a veteran film actor who for years has been coveted by several networks to do series TV. He was in discussions for a lead role in one of the new dramas that made the fall schedule. His asking price was $250,000. The network and the studio said no way. When the actor refused to go below $200,000, the network and studio moved on and hired someone else.

Why the hard line? The broadcast networks have been in a cost-cutting mode since ad revenues were hard-hit by the recession. While the ad market is recovering, they are also coping with a changing long-term financial picture as DVR playback and online viewing have greatly diminished the ratings on the second network run of shows, once the source of windfall profits.

There is an effort to keep talent costs down on their veteran hits as well. ABC’s Brothers & Sisters, which once had four actors earning $150,000 or more per episode, will lose Rob Lowe and have only 18 episodes next season instead of the typical 22. Some regulars will appear in fewer episodes. Marg Helgenberger’s new deal with CSI also calls for her to have a lighter workload next season and helps to trim the show’s budget in the face of declining ratings.

If a show is on the rise, it’s a different story. The stars of The Big Bang Theory—Jim Parsons, Johnny Galecki and Kaley Cuoco—all currently make well under $100,000 per episode. Their bank accounts are about to benefit from the show’s rise to the top of Nielsen rankings among viewers in the 18 to 49 age group and a successful sale into syndication. “I think they’ll give an extra year to their studio, Warner Bros., in exchange for each of them getting $150,000 to $200,000 an episode,” says one network executive. “They’ll get bumps from there and could get up to $300,000 an episode. If it’s a hit show, you start paying.”

The top earners, by category:

Drama (per episode)
Hugh Laurie (House) $400,000+
Christopher Meloni & Mariska Hargitay (Law & Order: SVU) $395,000 (each)
David Caruso (CSI: Miami) $375,000
Marg Helgenberger (CSI) $375,000
Mark Harmon (NCIS) $375,000
Laurence Fishburne (CSI) $350,000
Kyra Sedgwick (The Closer) $350,000
Denis Leary (Rescue Me) $350,000
Gary Sinise (CSI: NY ) $275,000
Patrick Dempsey (Grey’s Anatomy) $250,000
David Boreanaz (Bones) $200,000
Jeffrey Donovan (Burn Notice) $200,000
Julianna Margulies (The Good Wife) $175,000
Dana Delany (Body of Proof ) $150,000
Lauren Graham (Parenthood) $150,000
Jada Pinkett Smith (HawthoRNe) $150,000
Jimmy Smits (Outlaw) $150,000
LL Cool J (NCIS: Los Angeles) $125,000
Chris O’Donnell (NCIS: Los Angeles) $125,000
Mark Feuerstein (Royal Pains) $125,000
Jason Lee (Memphis Beat) $125,000
Joe Mantegna (Criminal Minds) $125,000
Tom Selleck (Blue Bloods) $125,000
Michael Weatherly (NCIS) $125,000
Matt Bomer (White Collar) $100,000
Nathan Fillion (Castle) $100,000
Thomas Gibson (Criminal Minds) $100,000
Jon Hamm (Mad Men) $100,000
Cole Hauser (Chase) $100,000
Alex O’Loughlin (Hawaii Five-0) $100,000
Timothy Olyphant (Justified ) $100,000
Scott Caan (Hawaii Five-0) $80,000
Angie Harmon (Rizzoli & Isles) $75,000
Anna Paquin (True Blood) $75,000
Blair Underwood (The Event) $75,000
Zachary Levi (Chuck) $60,000
Ian Somerhalder (The Vampire Diaries) $40,000
Shailene Woodley (The Secret Life of the American Teenager) $40,000
Ashley Tisdale (Hellcats) $30,000

Late Night/Talk Syndication (per year)
Oprah Winfrey $315 million
Judge Judy Sheindlin $45 million
David Letterman (The Late Show) $28 million
Jay Leno (The Tonight Show) $25 million
Conan O’Brien (The Conan O’Brien Show) $10 million
Ellen DeGeneres (The Ellen DeGeneres Show) $8 million
Jimmy Kimmel (Jimmy Kimmel Live) $6 million
Chelsea Handler (Chelsea Lately) $3.5 million
George Lopez (Lopez Tonight) $3.5 million

Reality (per year)
Ryan Seacrest (American Idol) $15 million
Joel McHale (The Soup) $2 million
Piers Morgan (America’s Got Talent) $2 million
Kate Gosselin (Kate Plus $250,000 per episode
Nicole “Snooki” Polizzi (Jersey Shore) $30,000 per episode

Comedy (per episode)
Charlie Sheen (Two and a Half Men) $1.25 million
Jon Cryer (Two and a Half Men) $550,000
Marcia Cross (Desperate Housewives) $400,000
Teri Hatcher (Desperate Housewives) $400,000
Felicity Huffman (Desperate Housewives) $400,000
Eva Longoria Parker (Desperate Housewives) $400,000
Dan Castellaneta (The Simpsons) $400,000
Julie Kavner (The Simpsons) $400,000
Tina Fey (30 Rock) $350,000
Jeremy Piven (Entourage) $350,000
Steve Carell (The Office) $297,000
Angus T. Jones (Two and a Half Men) $250,000
David Duchovny (Californication) $200,000
Kevin Dillon (Entourage) $200,000
Adrian Grenier (Entourage) $200,000
Miranda Cosgrove (iCarly) $180,000
Edie Falco (Nurse Jackie) $175,000
William Shatner ($#*! My Dad Says) $150,000
David Spade (Rules of Engagement) $150,000
Ed O’Neill (Modern Family) $100,000
Patrick Warburton (Rules of Engagement) $85,000
Betty White (Hot in Cleveland) $75,000
Kaley Cuoco (The Big Bang Theory) $60,000
Johnny Galecki (The Big Bang Theory) $60,000
Ty Burrell (Modern Family) $50,000
Jane Lynch (Glee) $50,000
Jim Parsons (The Big Bang Theory) $40,000
Matthew Morrison (Glee) $30,000
Selena Gomez (Wizards of Waverly Place) $30,000
Dylan and Cole Sprouse (The Suite Life of Zack and Cody) $20,000 (each)
Rico Rodriguez (Modern Family) $15,000

News (per year)
Matt Lauer (Today) $16 million +
Katie Couric (CBS) $15 million
Brian Williams (NBC) $12.5 million
Diane Sawyer (ABC) $12 million
Meredith Vieira (Today) $11 million
Bill O’Reilly (Fox News) $10 million
George Stephanopoulos (ABC) $8 million
Keith Olbermann (MSNBC) $7 million
Shepard Smith (Fox News) $7 million
Wolf Blitzer (CNN) $3 million
Christiane Amanpour (ABC) $2 million
Lawrence O’Donnell (MSNBC) $2 million
Eliot Spitzer (CNN) $500,000

Stallone, who is currently making the rounds for his upcoming action release, The Expendables, was asked about that still possible Rambo 5, or a more plausible Rambo 0.

JoBlo reports:

On Rambo 5:
“The character came full circle [in the fourth film]; he went home. For Rambo to go on another adventure might be misinterpreted as a mercenary gesture and not necessary.”

On Rambo Prequel:
“I certainly think this is worth pondering,” was his response. “It’s intriguing to find the whys and wherefores of how people have become what they are. The traumas, the loss and the tragedy of being in Vietnam would certainly be a great challenge for a young actor, and it would be ironic that Rambo directs younger Rambo having played it for twenty years plus…”

Heat Vision Blog recently spread the word that, according to Smallville producers, Darkseid will be the main bad guy in the show’s final season. Tom Welling will be directing an episode and so will Justin Hartley.

Many of you reading this might ask: “What’s a Darkseid and how does it affect the Superman movie series?!” Well, I’ll tell you! About the former. I don’t know how it’ll affect the latter. I’m hoping that David Goyer and Christopher Nolan’s Superman idea is “edgy’ and “dark.” Not because I think it’d be good but because there’s a good chance that Darkseid might show up in it. This guy is one bad mofo. Anyway! Here’s a handy tip sheet telling you all about Darkseid.

• Darkseid is one of two elder gods. He’s the evil twin to Highfather, who rules over New Genesis. Darkseid rules over Apokalips, a planet run by slaves and Parademons.
• Darkseid’s @$$-ugly son, Orion, was raised on New Genesis. D
• Darkseid can shoot lasers out of his eyes called Omega Beams. These beams can basically do whatever writers want them to do. Back when the Superman: The Animated Series cartoon was just hitting its stride, the Omega Beams were able to incinerate everything in their path. Recently, in the impressive but kind of pointless and very confusing Final Crisis, the Omega Beams killed Batman. But not really. He’s still alive. Just traveling back through time as a living bomb that will detonate when it reaches the 21st century. Cool or confusing? Why not both?!
• Darkseid was created by writer/artist/holy fool Jack Kirby as part of a series called The Fourth World, whose characters infrequently pop up in Supermantitles. Because Superman is as close as the DCU comes to a god and Darkseid is one of the “New Gods.” What’s the difference between a “New God” and an old one? Omega Beams, clearly.
• Did we mention that there are Parademons on Apokalips? Because that’s just how Darkseid rolls.
• “New Gods” travel around via sentient teleportation devices called “Mother Boxes” that open up “Boom Tubes” between locations. Beats commuting, I’m sure.

With a lidda bit of luck, some of Kirby’s original mythology will make its way into the TV show. I can’t imagine finding a budget for something like Apokalips would be easy. But hey! Live-action Darkseid! Neat, right?

“Where there is no life, there is no art”; intones the snuff film director in A Serbian Film, but it might as well be the tagline of the movie. (This was said by the actor playing the director, not the actual director of the movie). While much ink has been spilled regarding the boundary obliterating sex and violence on display in this self-funded Serbian shocker, it is the artistry of the film that one hopes it will be recognized, and eventually remembered, for. However, while full of raw power, the film’s commentary is somewhat blunt, and due to its Eastern European provenance, and a superficial similarity to torture porn, it seems far more likely that A Serbian Film will be regarded simply as the terminus of onscreen depravity.

At the Fantasia screening both the director and co-writer (Alexsander Radivojevic) were quick to explain that the violence was metaphorical and that people in Serbia felt “fucked from birth through death”. Todd Brown at Twitch smartly compared certain scenes in A Serbian Film to Jonathan Swift’s A Modest Proposal, in which eating babies is presented as a solution to Ireland’s hunger problem. The difference is that one is a crass literal depiction of being “fucked from birth” instead of a more refined, artistic metaphor like Swift’s. There’s nothing wrong with pushing boundaries, especially when you do it as effectively as A Serbian Film does, but writing off the perversity on display as simply metaphorical is a bit disingenuous. These guys are going for shock value even if their film aspires to much more than just that.

With that out of the way, it should be noted that the bulk of the depravity comes in the latter half of the film. An admirable amount of time is spent setting up the story of ex-porn star Milos (Todorovic) and his young family, who are trying to make a go of having a normal life. Money problems are the impetus for Milos’ return to porn, but the real reason seems to be Milos’ difficulty adjusting to civilian life. He is contacted by the Mephistophelian “artistic porn” director Vukmir (Trifunovic), who offers Milos enough money to retire permanently if he will take part in a film in which everyone knows the plot but him. At the same time we are introduced to Marko (Bestic), Milos’ cop brother who covets his wife and family to the point of using family videos as sexual aids. In the context of the Serbian civil war, this familial rot takes on an ominous, rather than licentious, tone.

The shooting of the film-within-a-film begins slowly with Vukmir directing not only Milos, but also the audience through an ever-escalating series of disconcerting vignettes. The starting point is a scene in which Milos is fellated while monitors show scenes of a teenage girl eating a popsicle and applying lip gloss. Much like in Videodrome the viewer is as complicit as the characters, and as the scenes become ever more depraved, we are left squirming in our seats, unable to distance ourselves from the onscreen activities.

And ultimately, what is onscreen is what counts in A Serbian Film. It is a pure cinematic experience, composed less of story and plot than visuals and sound. For this reason the familial disintegration that is at the heart of the film never really took root for me, and unlike comparable films like Irreversible, which was emotionally gut-wrenching, A Serbian Film left me emotionally distant. While this numbness to repeated trauma might be the point, the drama is a big enough part of the movie that the failure to evoke an emotional response to the characters still feels like the biggest weakness of the film.

It’s hard to know where A Serbian Film will end up. It seems unlikely that it will ever get a theatrical distribution in its current form, and who knows if an edited version will hold up to scrutiny. With a title that seems constructed to define the cinema of an entire country, it would be a shame if certain explicit scenes overshadow the rest of the film. It’s easy to imagine that with some moderate editing the artistry underlying A Serbian Film could be brought to the foreground, allowing this truly interesting and exciting film to gain the exposure it deserves.

These videos are from Mexico city’s press conference for The Last Airbender with Jackson Rathbone and M. Night Shyamalan taken by a fansite. Basically Shyamalan rips a reporter a new one after she asks him if he’s selling out in order to win back the audience he lost with his previous flops because they have lost their faith in him. He goes off saying “If I thought like you I would kill myself” and goes on to tell her that her point of view is crass, dismissive and cynic.

As of July 8, 2010, the remake of Clash Of The Titans(2010) has made an estimated $491 million dollars worldwide ($163 million domestically). That’s some pretty good money earned (thanks foreign box office!). Although it wasn’t critically liked that much, they are going ahead with a sequel. ComingSoon recently asked Sam Worthington(leading role) about it…

CinemaBlend states:

[It] will be 3D this time…Shot in 3D. Do put that in and make them fucking aware… When I read Clash 2, they came to me the other day. I said, ‘I kinda dig where it’s going, but can we make the character more of this? Can we make it more of that? Can I get to play a lot more and get involved and have a lot more fucking fun than just being a young man who has to stand there and look pretty?’ I’m sick of doing that, so it’s kind of a case of, ‘How do we make Perseus a lot more fun?’ So we’re sort of shaping it down that track.