1 febbraio: E' disponibile anche in Italia il DVD di "GETAWAY", distribuito da "Cecchi Gori Home Video": tra i contenuti speciali ricordiamo il trailer originale del film e le biografie/filmografie dei principali interpreti. Audio in lingua italiana e inglese, sottotitoli in italiano.
	2 febbraio: Argentina BOX OFFICE:

1 - Brother Bear $157,162 88 $1,786 $874,841 4 
2 - Kill Bill: Vol. 1 $82,160 45 $1,826 $574,719 1 
3 - Love Actually $81,755 50 $1,635 $247,872 3 
4 - American Wedding $73,386 60 $1,223 $406,030 4
5 - S.W.A.T. $62,681 36 $1,741 $343,402 4 
6 - Intolerable Cruelty $24,692 43 $574 $531,422 6 
7 - Real Women Have Curves $21,228 10 $2,123 $21,228 1 
8 - Daddy Day Care $12,782 28 $456 $259,199 7 
9 - Russian Ark $10,123 8 $1,265 $257,278 8 
10 - Valentín $5,357 24 $223 $615,235 16 
11 - Open Range $4,369 5 $874 $37,895 6 
12 - Jibeuro (The Way Home) $4,013 10 $401 $152,030 9
13 - Whale Rider $3,109 11 $283 $98,763 10 
14 - The Italian Job $2,790 8 $349 $330,126 12
15 - People I Know $1,828 7 $261 $134,791 12 
16 - Être et avoir $1,792 5 $358 $28,818 9 
17 - Bad Boys II $1,571 9 $175 $362,219 13 
18 - Bruce Almighty $1,378 3 $459 $2,768,219 20 
19 - Once Upon a Time in Mexico $1,304 4 $326 $320,185 14 
20 - The Musketeer $1,188 3 $396 $10,510 6 

	13 febbraio: Esce oggi nelle sale inglesi PEOPLE I KNOW.
	14 febbraio: Baldwin Upset Over Birthday Snub - Alec Baldwin is dragging his ex-wife Kim Basinger back into court after she refused to invite him to their daughter's birthday party. The couple have been at war with each other over the custody of daughter Ireland for years, but recent developments have fired Baldwin up again. In legal papers leaked to American tabloid The National Enquirer, Baldwin claims he wasn't invited to his daughter's October 23 birthday party in Los Angeles, "even though our daughter wanted me to attend." He adds, "Petitioner (Basinger) refused to permit me to go trick or treating with our daughter on Halloween. I was forced to secure a court order." Baldwin continues his ex-wife refused him permission to take their daughter to the premiere of his family film The Cat In The Hat - even thought it fell on a scheduled visit to Los Angeles." Basinger's attorney Neal Hersh fires back, "She doesn't want him on the property." Meanwhile, the actor's lawyer, Vicki Greene, insists the whole affair is "very sad."
	15 febbraio: FOCUS FEATURES ha annunciato la data d'uscita per THE DOOR IN THE FLOOR: 23 giugno 2004 (L.A. / N.Y.)
	16 febbraio: IGN Visits the Set of the Upcoming Action Flick Cellular. Scantily clad women, choreographed action and cell phones are the talk of the day as we check out the set and meet the cast and crew. Walking onto the set of New Line's upcoming action film, Cellular, I realize that I am finally getting to experience first-hand that vision of Hollywood derived from years spent staring at flickering images in a dark theater. First off, there are beautiful women everywhere wearing barely-there bikinis, each one better looking than the last. It is a spectacular, warm summer day on the Santa Monica pier, although, truth be told, it's actually October. Audiences will never guess that, though, when they see the finished product. The crowd is a mix of gawking onlookers and busy movie crew rushing off to move equipment and set up the next shot. Although Cellular is actually a small film by Hollywood standards (a mere $30 million budget), this is the way I always imagined a movie would be as a kid. Of course, then there is the raw reality of a film production: Each shot seems to take an eternity to set up. And this is with David R. Ellis, who is actually a very quick-working director. Standing around becomes an art form, especially for extras and potential stars on the rise. A good book, or these days, a nifty cell phone with videogames or an Internet connection are the keys to passing time along. Cellular is that rare breed of smaller action films these days, although it's hard to tell by the impressive list of individuals involved. It's produced by Dean Devlin (Independence Day, Godzilla) and directed by David R. Ellis (Final Destination 2). The cast is an especially interesting one including William H. Macy, Jason Statham, Jessica Biel and Kim Basinger. The star is Chris Evans, a relative newcomer rumored to be the next big thing. Over the course of the day we get a chance to talk with most everyone shooting that day with the exception of Biel. Basinger is actually shooting her scenes at a later date. We also get a chance to talk with one of the writers on the project, Chris Morgan. Our first talk is with producer Dean Devlin. Although he has become known for some of the largest film projects of recent years, he seems especially interested in talking about this one. "I wasn't so interested in a body count movie," says Devlin. "I really loved this idea of, 'What if you just suddenly got a phone call from someone you don't even know who says they're being kidnapped? Would you risk your safety to help someone you don't know?' And that just brought up a whole bunch of ethical questions. And I started thinking, 'You know, it would be really nice to make a movie that's about the idea that helping someone just for helping someone was a good thing.' He doesn't get rich from it, he's not going to find true love. There's no rewards except the reward of helping someone..." Director David R. Ellis had become primarily known as a director of stunt sequences before his feature directing debut earlier this year on Final Destination 2. Ellis seems to be very sure-handed as the helmer of a project and seems to know exactly what he wants. Devlin speaks of Ellis's work on Cellular: "For many years before he was a director he was the premier second unit director. Primarily action sequences, but he also did a lot of sequences with the main actors [and] he also did a lot of stuff with cars. This isn't an ultra-action movie. I mean, you're not going to see the spectacular action sequences. They're interesting action sequences. They're suspenseful. But they're not these over the top kind of wild, watching cars do triple flips in the air kind of thing. It's not Dukes of Hazzard..." As we've all come to know, keeping a cell phone connection is often a tricky thing when we're standing in one place, much less racing across town trying to save someone. "Originally the script was pretty much different," writer Chris Morgan says of the original draft. "More of like an art heist. The phone call stuff kind of ends early in the movie. Dean's a big fan of Hitchcock and so kind of what we were trying to go for was you put a person that could be anyone in a situation that could happen to anyone and how far would they go. I always loved that hook because, you know, everyone has a cell phone..." "What we threw at Chris Morgan was, we said, 'Look, I want you to keep finding ways that he's going to lose that connection and then don't let him lose the connection,'" Devlin says. "We all know how easy it is to lose that connection. If you start to drive in a tunnel, you know what's gonna happen. Now you've got to get out of that tunnel before you get in any deeper. And what are you gonna do? You get into a building and you start to get into an elevator and the elevator doors start to close and you start to lose the signal, how are you gonna get out of that elevator? It's a constant thing like that. The batteries start to die, cross-talk... We just tried to think of every single thing that can screw up a call. I just say, 'Whatever you do, write it, read it and then make it worse than what you just did, even if you can't figure out how to get out of it.' Because I think that's the whole fun of it." One of the most exciting sequences of the day involves lead actor Chris Evans running from a few baddies, including Jason Statham on a mock-up version of the edge of the pier. Evans leaps off into a pile of boxes below and Statham looks over the railing after him, disappointed he didn't get to finish him off. Shortly after the sequence is shot, we get to talk to Ellis. He wants to get away from the crowd so we hop in a golf cart with him and he whips us across the pier until we find a good spot. "That was Chris Evans leaping for his life off the pier," Ellis tells us. "What's happening in that scene is Chris has the evidence against the bad cops. They want it. They think they get it and they destroy it and now they're going to take him away with Kim Basinger and her husband and son and take care of them so they won't ever talk again. But, unfortunately, Chris can recognize them so when he leaps off to get away they still have unfinished business. They have to capture him, take him and eliminate all the people that can be eyewitnesses to what happened. "This is a character-driven piece about a kid that's really kind of self-centered. Into himself. Never has done anything right or never really has done anything for himself. His girlfriend's bailed on him because of that and he all of the sudden gets this random cell phone call from this lady that's been kidnapped. And it's about him having this character arc where he comes to the plate and really hangs it out for somebody that he doesn't even know..." Ellis promises that beyond what we've seen today, there are plenty of other great action scenes they've already shot. As Devlin had mentioned, Ellis has become known for his work with cars. Ellis talks about "one car chase when [Evans' character] goes to the school to try to get the kid before he's let out of school and just misses him and the kidnappers get the kid. The kidnappers are in a Porsche Cayenne... His car's at the other side of the school... This little tiny security car pulls up and its security guard gets out. So he has to go steal that car. So now he's in this little thing with the sewing machine engine trying to catch these guys in a Porsche Cayenne..." The cast is a pretty exciting one, even for a producing vet like Dean Devlin. Although Evans isn't very well known yet, Devlin promises we will know his name after this. "When you see him in this film you're going to see. He's going to be the next giant star. I haven't been this excited about an actor since working with Will Smith on Independence Day where you just get that feeling like, 'Wow, we got this guy just before it becomes crazy.' Because not only is he great looking and has an enormous screen charisma, which is a movie star in itself, but he's actually a really good actor. And to find a 22-year-old kid who's really listening, who's really present in the moment, I mean, that's rare..." Evans, the star of the future, is a pretty normal, easygoing guy in person. We spoke to him in-between takes for a few moments and he told us about a scene we just watched with him and William H. Macy. "This is almost the ending of the film. We've only got a couple more pages. This is after they've kidnapped Jessica [Biel's character] (Evans' girlfriend in real life too). I have the videotape they're looking for and I'm basically telling them to meet me here and we're gonna back the trade." Much has been made of the tricky business of running around with a cell phone for an entire film. Evans is at the center of this chaos. "Every scene I'm frantically running and screaming and panicking. So it's very upbeat, yes. As far as driving goes, they have a great stunt driver. They let me do a few things. So driving, they want to leave that to the professionals. I do get to do a little, you know, jumping off the pier and sliding down a trash chute. Fun stuff like that they'll throw my way." Jason Statham is becoming known as one of the up-and-comers of the action genre and he's also garnered a cultish following for his Guy Ritchie roles (he was mysteriously missing from Swept Away). While he may look intimidating at first, he's really easy-going in person and surprisingly straightforward. He has no worry of becoming just another action hero. "No, no. F**k it. People are going to pigeonhole you anyway. That's what they're good at. 'Oh, he's just another guy who can do f**king action.' But that's what people get a kick out of is labeling you and it makes them feel good about how they see people. Fair play to them if they want to do that but I don't mind. I'm just happy to do what I wanna do. I'm very privileged to be doing what I'm doing. Let's not make it too complicated or get f**king stupid about things." In the film, Statham is one of the baddies after Evans. "We're pretty bad guys and we've got the ability to do some pretty bad stuff. And he's a good guy essentially and he doesn't want that to happen. So there, I have a hold over him. You know, we're very carefree in our regard to pain when it's dished out to people. He wants to keep everyone in tact so we've got that kind of barrier over him." While Statham is after Evans, they don't get the chance to tangle. "I think in the ending, yeah, I do get into a little bit of a physical confrontation with one of the bad guys," says Evans. "I think I give him a pretty good beat-down too. It's not Jason, thank God, because he'd be giving me the beat down..." Statham is very careful not to disclose too much about the plot. "It's best to keep some kind of mystery about the story. I know it makes it boring for you guys but I don't want to be the one to spill the beans. I'll let the director do that. ... [Evans] has something that I want and this is the rendezvous chosen by Chris. He's going to deliver something to me and in exchange I'm going to deliver something back to him. He doesn't want to disclose who he is to me so he's semi-disguised. He's wearing a headset and I'm speaking to him over the phone. We're trying to make this trade off... I'm very physical and there's a psychological element that's great. That's always the best part. ... Of course, I have to get heavy-handed at some point, which is fun always." Perhaps the most surprising cast member is William H. Macy. One of the great actors of his generation, he has generally steered clear of action films. "It's a high adventure chase movie. Start to finish, there's about three minutes of calmness at the beginning and then the door bursts open and it never calms down and I've never done anything like this. It was written for a different actor than me. I don't know if it was written for someone specific but he was supposed to be an older, portly man who had had a heart attack and the gag was all the cops in the station were worried that he was going to get excited and have another heart attack. And being the virile hunk that I am we knew that wouldn't fit me, so I suggested that the character was going to retire after 27 years, which I'm unfortunately old enough to play... and he and his wife are going to start a spa, a day spa. And so all the cops are busting me all the time: 'You're really starting a beauty parlor?' And the joke is, I keep saying, 'It's a spa. It's a day spa!'" With productions leaving L.A. by the busload and often heading to Canada to save money, much of the crew is enjoying the unique situation of working close to home. "It's a great place to shoot, just being in L.A. alone," says Evans. "A lot of films are on location these days and getting to shoot in L.A. is a real treat. Especially in such a beautiful place in L.A. ...My friends are here, my girlfriend's here, my dog's here. Getting to work and then go home to your own bed is really special." Dean Devlin also felt L.A. was the perfect place for Cellular. After all, where on Earth are cell phones more widespread than L.A.? "All of us felt just too much production has left Los Angeles. The director especially felt that because he has so many connections to crew people and we just thought, 'You know, if we can do it in L.A. and it makes sense for us and we can make the story work, we really should because there's just too much production leaving Los Angeles and just too many really talented craftsmen out of work.' The crew we've got on this movie is one of the best crews I've ever had." As the sun begins to set in spectacular fashion over the Pacific Ocean, the crew battles fading light to get that final shot of the day. Word on the set is that the production is actually running ahead of schedule, a rare thing in the film production world. It's clear that producer Dean Devlin and director David R. Ellis are pretty sure about what they are going for in this production. Everyone generally seems to be enjoying the shoot and, as far as we've been told, there are no signs of on-set feuds so far with only a little over twenty days left to go. "I just make the movies I want to see," says Devlin. "I've always been that way. I don't think you can figure this stuff out. If you could figure all this stuff out then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process. We intellectualize it and we rationalize it, but it's really about a love of movies and I think whether you're making an art film or you're making a genre film, if you don't really love that movie you are trying to make, you'll be able to tell. These audiences are so damn smart, way smarter than the studios give them credit for. They can tell when they see the trailer..." Cellular is currently wrapping up in the Los Angeles area. It will be released sometime in 2004. IGN will post the official release date as soon as we hear more.