Complete List Of Nominees For the 68th Golden Globe Awards

The 2011 Golden Globe Awards is slated on January 16, 2011 and the nominees were already announced today.

Here’s a complete list of the nominees for the 68th Golden Globe Awards:

1. BEST MOTION PICTURE – DRAMA

a. BLACK SWAN

Protozoa Pictures & Cross Creek Pictures & Phoenix; Fox Searchlight Pictures

b. THE FIGHTER

Paramount Pictures and Relativity Media; Paramount Pictures and Relativity Media

c. INCEPTION

Warner Bros. Pictures UK LTD.; Warner Bros. Pictures

d. THE KING’S SPEECH

See-Saw Films and Bedlam Productions; The Weinstein Company

e. THE SOCIAL NETWORK

Columbia Pictures; Sony Pictures Releasing

2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA

a. HALLE BERRY FRANKIE AND ALICE

b. NICOLE KIDMAN RABBIT HOLE

c. JENNIFER LAWRENCE WINTER’S BONE

d. NATALIE PORTMAN BLACK SWAN

e. MICHELLE WILLIAMS BLUE VALENTINE

3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA

a. JESSE EISENBERG THE SOCIAL NETWORK

b. COLIN FIRTH THE KING’S SPEECH

c. JAMES FRANCO 127 HOURS

d. RYAN GOSLING BLUE VALENTINE

e. MARK WAHLBERG THE FIGHTER

4. BEST MOTION PICTURE – COMEDY OR MUSICAL

a. ALICE IN WONDERLAND

Walt Disney Pictures; Walt Disney Studios Motion Pictures

b. BURLESQUE

Screen Gems; Sony Pictures Releasing

c. THE KIDS ARE ALL RIGHT

Antidote Films, Mandalay Vision, Gilbert Films; Focus Features

d. RED

di Bonaventura Pictures; Summit Entertainment

e. THE TOURIST

GK Films; Sony Pictures Releasing

5. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL

a. ANNETTE BENING THE KIDS ARE ALL RIGHT

b. ANNE HATHAWAY LOVE AND OTHER DRUGS

c. ANGELINA JOLIE THE TOURIST

d. JULIANNE MOORE THE KIDS ARE ALL RIGHT

e. EMMA STONE EASY A

6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL

a. JOHNNY DEPP ALICE IN WONDERLAND

b. JOHNNY DEPP THE TOURIST

c. PAUL GIAMATTI BARNEY’S VERSION

d. JAKE GYLLENHAAL LOVE AND OTHER DRUGS

e. KEVIN SPACEY CASINO JACK

7. BEST ANIMATED FEATURE FILM

a. DESPICABLE ME

Universal Pictures, Illumination Entertainment; Universal Pictures

b. HOW TO TRAIN YOUR DRAGON

DreamWorks Animation; Paramount Pictures

c. THE ILLUSIONIST

Django Films, Ciné B and France 3 Cinéma; Sony Pictures Classics

d. TANGLED

Walt Disney Animation Studios; Walt Disney Studios Motion Pictures

e. TOY STORY 3

Disney * Pixar; Walt Disney Studios Motion Pictures

8. BEST FOREIGN LANGUAGE FILM

a. BIUTIFUL (MEXICO/SPAIN)

Menageatroz, Focus Features International; Roadside Attractions

b. THE CONCERT (FRANCE)

An Oï Oï Oï Productions, Les Productions Du Tresor, France 3 Cinema, Europacorp, Castel Films, Panache Productions, RTBF (Belgian Television), BIM Distrubuzione Co., Canal +, Cinecinema and France 3; The Weinstein Company

c. THE EDGE (RUSSIA)

(Kpaй)

Teleshow/Rock Films; Central Partnership (Russia)

d. I AM LOVE (ITALY)

(LO SONO L’AMORE)

First Sun; Magnolia Pictures

e. IN A BETTER WORLD (DENMARK)

(Hævnen)

Zentropa Entertainment; Sony Pictures Classics

9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE

a. AMY ADAMS THE FIGHTER

b. HELENA BONHAM CARTER THE KING’S SPEECH

c. MILA KUNIS BLACK SWAN

d. MELISSA LEO THE FIGHTER

e. JACKI WEAVER ANIMAL KINGDOM

10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE

a. CHRISTIAN BALE THE FIGHTER

b. MICHAEL DOUGLAS WALL STREET: MONEY NEVER

SLEEPS

c. ANDREW GARFIELD THE SOCIAL NETWORK

d. JEREMY RENNER THE TOWN

e. GEOFFREY RUSH THE KING’S SPEECH

11. BEST DIRECTOR – MOTION PICTURE

a. DARREN ARONOFSKY BLACK SWAN

b. DAVID FINCHER THE SOCIAL NETWORK

c. TOM HOOPER THE KING’S SPEECH

d. CHRISTOPHER NOLAN INCEPTION

e. DAVID O. RUSSELL THE FIGHTER

12. BEST SCREENPLAY – MOTION PICTURE

a. DANNY BOYLE, 127 HOURS

SIMON BEAUFOY

b. LISA CHOLODENKO, THE KIDS ARE ALL RIGHT

STUART BLUMBERG

c. CHRISTOPHER NOLAN INCEPTION

d. DAVID SEIDLER THE KING’S SPEECH

e. AARON SORKIN THE SOCIAL NETWORK

13. BEST ORIGINAL SCORE – MOTION PICTURE

a. ALEXANDRE DESPLAT THE KING’S SPEECH

b. DANNY ELFMAN ALICE IN WONDERLAND

c. A.R. RAHMAN 127 HOURS

d. TRENT REZNOR, THE SOCIAL NETWORK

ATTICUS ROSS

e. HANS ZIMMER INCEPTION

14. BEST ORIGINAL SONG – MOTION PICTURE

a. “BOUND TO YOU” — BURLESQUE

Music by: Samuel Dixon

Lyrics by: Christina Aguilera, Sia Furler

b. “COMING HOME” — COUNTRY STRONG

Music & Lyrics by: Bob DiPiero, Tom Douglas, Hillary Lindsey, Troy Verges

c. “I SEE THE LIGHT” — TANGLED

Music by: Alan Menken

Lyrics by: Glenn Slater

d. “THERE’S A PLACE FOR US” — CHRONICLES OF NARNIA: THE

VOYAGE OF THE DAWN TREADER

Music & Lyrics by: Carrie Underwood, David Hodges, Hillary Lindsey

e. “YOU HAVEN’T SEEN THE LAST OF ME” — BURLESQUE

Music & Lyrics by: Diane Warren

15. BEST TELEVISION SERIES – DRAMA

a. BOARDWALK EMPIRE (HBO)

Leverage, Closest to the Hole Productions, Sikelia Productions and Cold Front Productions, HBO Entertainment

b. DEXTER (SHOWTIME)

Showtime, John Goldwyn Productions, The Colleton Company

c. THE GOOD WIFE (CBS)

CBS Television Studios

d. MAD MEN (AMC)

Lionsgate Television

e. THE WALKING DEAD (AMC)

AMC

16. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA

a. JULIANNA MARGULIES THE GOOD WIFE

b. ELISABETH MOSS MAD MEN

c. PIPER PERABO COVERT AFFAIRS

d. KATEY SAGAL SONS OF ANARCHY

e. KYRA SEDGWICK THE CLOSER

17. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA

a. STEVE BUSCEMI BOARDWALK EMPIRE

b. BRYAN CRANSTON BREAKING BAD

c. MICHAEL C. HALL DEXTER

d. JON HAMM MAD MEN

e. HUGH LAURIE HOUSE

18. BEST TELEVISION SERIES – COMEDY OR MUSICAL

a. 30 ROCK (NBC)

Universal Media Studios in association with Broadway Video and Little

Stranger Inc.

b. THE BIG BANG THEORY (CBS)

Warner Bros. Television

c. THE BIG C (SHOWTIME)

Showtime, Sony Pictures Television, Perkins Street Productions, Farm Kid, Original Film

d. GLEE (FOX)

Ryan Murphy Television, Twentieth Century Fox Television

e. MODERN FAMILY (ABC)

Twentieth Century Fox Television

f. NURSE JACKIE (SHOWTIME)

Showtime, Lionsgate Television, Jackson Group Entertainment, Madison Grain Elevator, Inc. & Delong Lumber, Caryn Mandabach Productions

19. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES –COMEDY OR MUSICAL

a. TONI COLLETTE UNITED STATES OF TARA

b. EDIE FALCO NURSE JACKIE

c. TINA FEY 30 ROCK

d. LAURA LINNEY THE BIG C

e. LEA MICHELE GLEE

20. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL

a. ALEC BALDWIN 30 ROCK

b. STEVE CARELL THE OFFICE

c. THOMAS JANE HUNG

d. MATTHEW MORRISON GLEE

e. JIM PARSONS THE BIG BANG THEORY

21. BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

a. CARLOS (SUNDANCE CHANNEL)

Sundance Channel

b. THE PACIFIC (HBO)

Playtone and DreamWorks in association with HBO Films

c. PILLARS OF THE EARTH (STARZ)

Starz, Tandem Communications, Muse Entertainment Scott Free Films

d. TEMPLE GRANDIN (HBO)

A Ruby Films, Gerson Saines Production, HBO Films

e. YOU DON’T KNOW JACK (HBO)

Bee Holder, Cine Mosaic and Levinson/Fontana Productions, HBO Films

22. BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

a. HAYLEY ATWELL PILLARS OF THE EARTH

b. CLAIRE DANES TEMPLE GRANDIN

c. JUDI DENCH RETURN TO CRANFORD

d. ROMOLA GARAI EMMA

e. JENNIFER LOVE HEWITT THE CLIENT LIST

23. BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

a. IDRIS ELBA LUTHER

b. IAN MCSHANE PILLARS OF THE EARTH

c. AL PACINO YOU DON’T KNOW JACK

d. DENNIS QUAID THE SPECIAL RELATIONSHIP

e. EDGAR RAMIREZ CARLOS

24. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

a. HOPE DAVIS THE SPECIAL RELATIONSHIP

b. JANE LYNCH GLEE

c. KELLY MACDONALD BOARDWALK EMPIRE

d. JULIA STILES DEXTER

e. SOFIA VERGARA MODERN FAMILY

25. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION

a. SCOTT CAAN HAWAII FIVE-O

b. CHRIS COLFER GLEE

c. CHRIS NOTH THE GOOD WIFE

d. ERIC STONESTREET MODERN FAMILY

e. DAVID STRATHAIRN TEMPLE GRANDIN

'Stone' Movie Info

Synopsis
A seasoned corrections official and a volatile inmate find their lives dangerously intertwined in Stone, a thought-provoking drama directed by John Curran and written by Angus MacLachlan. Stone features powerful performances by Academy Award(R) winner Robert De Niro and Oscar(R) nominee Edward Norton, and a startlingly raw, breakout performance from Milla Jovovich as the sexy, casually amoral woman they both desire.

As parole officer Jack Mabry (De Niro) counts the days toward a quiet retirement, he is asked to review the case of Gerald ``Stone Creeson (Norton), in prison for covering up the murder of his grandparents with a fire. Now eligible for early release, Stone needs to convince Jack he has reformed, but his attempts to influence the older man's decision have profound and unexpected consequences for them both.

Stone skillfully weaves together the parallel journeys of two men grappling with dark impulses, as the line between lawman and lawbreaker becomes precariously thin. Golden Globe(R) winner Frances Conroy completes the superb ensemble as Madylyn, Jack's devout, long-suffering spouse.

Set against the quiet desperation of economically ravaged suburban Detroit and the stifling brutality of a maximum security prison, this tale of passion, betrayal and corruption examines the fractured lives of two volatile men breaking from their troubled pasts to face uncertain futures.

The film stars Robert De Niro (Taxi Driver, Raging Bull), Edward Norton (The Painted Veil, Fight Club) Milla Jovovich (The Fifth Element) and Frances Conroy (``Six Feet Under). It is directed by John Curran (The Painted Veil, We Don't Live Here Anymore) from a screenplay by Angus MacLachlan (Junebug). Stone is produced by Holly Wiersma (Factory Girl), Jordan Schur and David J. Mimran. Director of photography is Maryse Alberti (The Wrestler). Editor is Alexandre de Franceschi (Bright Star). Costume designer is Victoria Farrell (New York, I Love You). Production designer is Tim Grimes (The Wrestler). Co-producer is Ed Cathell III (The Secret Life of Bees). Associate producers are Cat Lake and Lauren Mann. Co-executive producers are Will French (Game of Death) and Stephen Roberts (Game of Death). Executive producers are René Besson (Solitary Man), Danny Dimbort (The Bad Lieutenant: Port of Call - New Orleans), Avi Lerner (Rambo) and Trevor Short (Leaves of Grass).

'The Hangover' Director Out With New Comedy 'Due Date'

From Todd Phillips, the director of the smash comedy “The Hangover,” comes “Due Date” starring Robert Downey Jr. and Zach Galifianakis as two unlikely companions who are thrown together on a road trip that turns out to be as life-changing as it is outrageous.

Downey plays Peter Highman, an expectant first-time father whose wife’s due date is a mere five days away. As Peter hurries to catch a flight home from Atlanta to be at her side for the birth, his best intentions go completely awry when a chance encounter with aspiring actor Ethan Tremblay (Galifianakis) forces Peter to hitch a ride with Ethan—on what turns out to be a cross-country road trip that will ultimately destroy several cars, numerous friendships and Peter’s last nerve.

For Phillips, who also serves as a producer and co-writer on the film, the fun of making “Due Date” has been tied to the remarkable cast he has assembled. “Half-way through `The Hangover,' I decided I wanted to work with Zach Galifianakis again,” he notes. “Then, getting a guy like Robert Downey Jr. was a long shot, but when he came on board, it was crazy. So, when the concept came together with the right cast, we had a movie. What made it different was the ability to walk that thin line of awkwardness between the two main characters. But that’s why we have actors like Robert and Zach—they’re so good at it.”

The entire shoot of “Due Date” has been fuelled with an “anything goes” spirit of improvisation, says Phillips. “They throw lines at each other, but we normally talk about it before,” he says. “Still, the spirit of improvising is in the film in a way that makes it feel alive.”

“Every day’s a little bit different, but we’re always doing the same thing, which is playing around and massaging it and trying to have a good time,” Downey says. “I think that’s one of the great things that Phillips said—that he loves doing this because he gets paid to do what he would do for free. And he basically laughs all day long.”

Susan Downey, who serves as an executive producer, adds, “Robert, Zach and Todd all really feed off of each other. They almost have a kind of brotherhood in how they approach this. They just go at each other in a very fun yet constructive way. And they all share the same goal—they just want to make the best version of this possible. It may not be a version that’s on the page the morning they show up to shoot the scene, but they just keep mining it and pushing it to be the best that it can be.”

Opening soon across the Philippines, “Due Date” is distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

The Social Network Sneak Preview

Considered as the film to beat in next year's Academy Awards, Columbia Pictures' “The Social Network,” the controversial movie detailing the origins of social media megasite Facebook, will have whole-day sneak previews on Monday and Tuesday, Oct. 18 & 19 in selected theaters in Metro Manila. Tickets will be available at regular admission prices.

This affords film buffs and Facebookers a chance to watch the much-talked-about and critically acclaimed movie ahead of its grand opening here on Oct. 27. “The Social Network” has been the No. 1 movie in the US for two consecutive weeks now, earning a cumulative gross of $47-million.

Manohla Dargis of The New York Times praises “The Social Network” as “fleet...funny, exhilarating...supremely confident...a creation story for the digital age,” while Richard Corliss of Time Magazine raves, “The film is like a video game at warp speed. The rewards for paying attention are mammoth and exhilarating.”

“It’s the movie of the year that also brilliantly defines the decade,” applauds Peter Travers of Rolling Stone.
In the film, on a fall night in 2003, Harvard undergrad and computer programming genius Mark Zuckerberg (Jesse Eisenberg) sits down at his computer and heatedly begins working on a new idea. In a fury of blogging and programming, what begins in his dorm room soon becomes a global social network and a revolution in communication. A mere six years and 500 million friends later, Zuckerberg is the youngest billionaire in history, but for this entrepreneur, success leads to both personal and legal complications.

Also starring are Justin Timberlake (“Shrek The Third”) as Sean Parker, the Napster co-founder who became Facebook's founding president; and Andrew Garfield (“Lions for Lambs,” “Spider-Man” 2012) as Eduardo Saverin, the Facebook co-founder who fell out with Zuckerberg over money.

Directed by David Fincher and written by Aaron Sorkin, “The Social Network” is distributed by Columbia Pictures, local office of Sony Pictures Releasing International. Visit http://www.columbiapictures.com.ph for trailers, exclusive content and free downloads. Like ColumbiaPicturesPH on Facebook.

Eat Pray Love Production Notes

Liz Gilbert (Julia Roberts) is a modern woman on a quest to marvel at and travel the world while rediscovering and reconnecting with her true inner self in Eat Pray Love. At a crossroads after a divorce, Gilbert takes a year-long sabbatical from her job and uncharacteristically steps out of her comfort zone, risking everything to change her life. In her wondrous and exotic travels, she experiences the simple pleasure of eating in Italy, the power of prayer in India, and, finally and unexpectedly, the inner peace and balance of love in Bali.  Based on an inspiring true story, Eat Pray Love proves that there really is more than one way to let yourself go and see the world.

Columbia Pictures presents a Plan B Entertainment production, Eat Pray Love.  The film stars Julia Roberts, James Franco, Richard Jenkins, Viola Davis, Billy Crudup, and Javier Bardem.  Directed by Ryan Murphy.  Produced by Dede Gardner.  Screenplay by Ryan Murphy & Jennifer Salt.  Based on the book by Elizabeth Gilbert.  Executive producers are Brad Pitt, Stan Wlodkowski, and Jeremy Kleiner.  Director of Photography is Robert Richardson, ASC.  Production Designer is Bill Groom.  Editor is Bradley Buecker.  Costume Designer is Michael Dennison.  Music by Dario Marianelli.  Music Supervision by PJ Bloom.
ABOUT THE PRODUCTION

Julia Roberts read Elizabeth Gilbert’s memoir Eat Pray Love when it was first released in 2006.  She sent it to one of her best friends and they read it at the same time, and both immediately connected with the story.  “Everybody has a journey, a moment in their lives when they need to redefine who they are and what they’re looking for,” says Roberts.  “Liz’s journey is very specific and very visual, in a way that’s very appealing as a story, but it’s also a universal story that can apply to anybody.”

Gilbert’s memoir – a self-described search for everything – has achieved extraordinary success, selling over 6.2 million copies in the United States, and overseas, it has been translated into 40 languages.  It is the book that attracted Roberts to the project, along with the chance to work with Ryan Murphy, the film’s co-writer/director.  “I love the way the book talks about life experience, searching for answers, and how meaningful people can be in our lives.  I think that’s really such a vibrant story.  It’s great to be part of it, and part of it with Ryan at the helm of it – it was a delicious endeavor,” says the actress.

Murphy, best known for his work with the Golden Globe-winning television series “Nip/Tuck” and “Glee,” has garnered acclaim for his keen and realistic dialogue.  He wrote the screenplay with Jennifer Salt, with whom he previously collaborated on “Nip/Tuck.”  “Ryan and Jennifer did a very reverential adaptation,” says Roberts.  “Ryan was really in sync with Liz Gilbert and talked to her a lot – they tried to be very true to the book.  There comes a moment in any film adaptation where things have to be a little bit different, but we always protected the spine of the story – Liz’s journey of self-discovery.”

“The beauty of the book – and, I think, the reason we all wanted to do it – is that it says, ‘Get out of your box,’” says Murphy.  “I love that idea – that was a very personal idea for me, because I can be very rigid in my choices, repeating a pattern day after day after day.  For example, I love the scene in Rome where Julia spends the afternoon on the floor, eating a perfect meal.  I think of that in my day-to-day life; I try to savor the little experiences and try not to have an outcome to the day.  That’s what I learned on a personal level by being part of this project.”

“Ryan handed me the book under completely non-movie circumstances – he recommended it as a friend,” says Salt.  “He said, ‘I’m reading this book and I feel like I’m listening to you talk.  You’re going to love this.’  And I adored it, because it was so honest, so authentic.  When Ryan told me that he was going to get the rights and he wanted me to write it with him… It was just a magical moment for me.”

The book’s theme of being true to one’s self became the driving force behind the story and the script.  Though Gilbert makes an exotic and beautiful literal journey, traveling around the world, that is only part of the story.  The reason the book has resonated with so many is that her inner journey, her quest for self-discovery, rings true – and it can be done anywhere.  Says Gardner, “Liz Gilbert’s curiosity for the unfamiliar is one of the things that was compelling to me.  You can literally go around the corner and meet someone you haven’t met before, or encounter a new language, food, culture, or set of behaviors.”

In fact, finding that balance between the external and internal journeys was the key in adapting the material for the screen.  The plot that keeps the drama moving forward is Liz’s travel from New York to Italy to India to Indonesia, and it was important to the filmmakers to convey to the audience the personal challenge that Liz poses to herself by traveling around the world by herself: “It’s lonely, and it’s not easy,” says Gardner.  It’s that plot that would bring the story off the page and come alive on film.

As they penned the adaptation, Murphy and his screenwriting partner, Jennifer Salt, held brainstorming meetings with Roberts and Gardner, each contributing the parts of the book that resonated most with them.  There was much overlap, of course, but also some moments that each related to individually.  These intimate discussions became the grass roots for the making of the film script.

Another important resource for Murphy and Salt, of course, was the author, Elizabeth Gilbert.  During the writing process, Murphy and Gilbert had a regular email exchange; whenever they had a question about their character’s motivation, they found they had a useful ally in the author herself.  For example, when writing the Italy section of the film, it seemed to Murphy and Salt that the Thanksgiving meal with all of her Italian friends would be the key that would unlock the entire act of the film.  What was it about that meal that was so important to Gilbert?  The author responded that at that moment – at the very beginning of her journey – she was still not sure she could feel happiness for herself, but she was certain she could be happy for others.  “She said this moment was like a spark of life,” Gardner says.  “It is moments like this that helped us immensely and helped us be able to keep moving forward in the storytelling.”

From the very beginning, when Gardner first read the book, the only choice to play Elizabeth Gilbert was Julia Roberts.  “It sang out to me as obvious – this should be Julia Roberts,” says the producer.  “I have never worked with Julia before and I am just awestruck by her talent.  In this role, she runs the gamut in tone, from vulnerability to toughness and from indecision to confidence. She understands when Liz is ebbing and flowing.”

“Liz goes through a wide range of emotions – as you’d expect, because the story covers a year of her life,” says Roberts.  “Between going through divorce and dating and traveling and meeting strangers and not knowing what to do, it’s a great opportunity to play a complex and fascinating character.”

“At the beginning of the movie, Liz is unraveling a bit, and she’s not sure why,” Roberts adds.  “She’s a traveler – she’s always traveled – so that was an instinct for her to pack her bags.  Obviously, not everybody can do what she did, but it’s not really about that.  It’s fun to watch her go around the world in the movie, but it’s really about her own self-examination and figuring out what she wants out of life.”

Roberts says that kind of reflection isn’t easy and it’s what makes Gilbert’s journey remarkable.  “For her to take that time for herself is what is deeply interesting and encouraging to other people,” she says.  “I think that’s courageous and admirable; it’s such a busy, rapid-fire world, so to try to stop and figure out what’s right for you is a good thing.”

Viola Davis, who plays Delia, Liz’s best friend in the film, says that she too saw the connection between Liz Gilbert and Julia Roberts.  “As I was reading Eat Pray Love, I thought to myself, Liz probably doesn’t even realize how fantastic she is.  She can make friends as soon as she walks in a room.  And I feel the same way about Julia – people are attracted to her spirit.  She’s a light.”

Roberts had the opportunity to meet the real Elizabeth Gilbert in Rome.  “Ryan had a relationship with her through pre-production, but I felt it was important for me in portraying her to go with my instincts, to get enough filming done that I was already on a course by the time that I met her,” says Roberts.  “She’s a lovely, lovely person, and she has a great way of talking and very specific mannerisms, and I didn’t want to imitate her.  She’s a beautiful human being.”

Like with the casting of Julia Roberts, the filmmakers couldn’t see any other choice than shooting in the real locations that Gilbert visited on her journey.  “That was our holy grail – we were going to go to as many places as we could where Liz Gilbert went,” says Murphy.  “Some were easy, especially some of the famous places in Rome that Liz visited.”  In other instances, Murphy says, they were lucky – the production was able to shoot at the real home of Ketut Liyer, a key character in the Bali sequence.  “We spent a lot of time in pre-production, going to the different countries three times, finding the exact locations.  If we couldn’t shoot at a real location for reasons that were beyond our control, we took an unbelievable amount of pictures and we would re-create them.  Because the book is so well-known and loved, it was important to me, as the director, to be true to where she went,” Murphy continues.

Richard Jenkins, who takes on a key role in the India sequence as Richard From Texas, explains what it meant to the film that they were able to shoot in these exotic locations.  “When I was a kid, growing up in a small town in the Midwest, movies were how I saw the world.  I went places in films that I couldn’t go in any other way,” he says.  “So to have this shot in India – you couldn’t have done it anywhere else.  The heat, the feeling, the air, the people.  It’s a whole different vibe.”

But not only would the production shoot in the real locations.  They would also shoot in chronological order – first in New York, then Italy, then India, then Bali.  Doing so, Roberts says, added a layer to her performance.  “We experienced all the same emotional responses Liz goes through,” she says.  “It made it an incredible experience.”

“In talking with Ryan and Dede, it was clear there was something so special about each of these international locations, and people will want to go on a journey similar to Liz’s when they come and see this movie,” says executive producer Stan Wlodkowski.  “So it was unanimous by filmmakers and studio alike that we would film in New York, Italy, India, and Bali, in the same progression that Liz experiences in her book.  I don’t think I will ever experience again in my career a schedule like this.  We were literally making four separate movies.”

One of their first puzzles was in putting together the shooting schedule for the film.  Not only would they have to account for the availability of the actors, but local weather, crews, and getting around.  Some of the international locations had film infrastructure and had hosted many movies there before, while others, like Bali, had never had a film of this size shoot there.

“When we began shooting in New York, there was always a production office open somewhere in the world.  This movie was open for business 24 hours a day. We had casting offices, art departments, construction departments, and wardrobe departments all across the globe,” says Gardner.

'The Social Network' Traces Origins Of Facebook

Columbia Pictures brings to the screen The Social Network, the controversial and acclaimed film detailing the Harvard dorm room origins of social media megasite Facebook -- the most revolutionary social phenomenon of the new century -- which is valued today at a staggering $16 billion.

On a fall night in 2003, Harvard undergrad and computer programming genius Mark Zuckerberg sits down at his computer and heatedly begins working on a new idea. In a fury of blogging and programming, what begins in his dorm room soon becomes a global social network and a revolution in communication. A mere six years and 500 million friends later,  Zuckerberg is the youngest billionaire in history. But for this entrepreneur, success leads to both personal and legal complications.

What follows is a drama rife with both creation and destruction; one that purposefully avoids a singular POV, but instead, by tracking dueling narratives, mirrors the clashing truths and constantly morphing social relationships that define our time.

Drawn from multiple sources, the film moves from the halls of Harvard to the cubicles of Palo Alto as it captures the visceral thrill of the heady early days of a culture-changing phenomenon in the making -- and the way it both pulled a group of young revolutionaries together and then split them apart. 

In the midst of the chaos are Mark Zuckerberg, the brilliant Harvard student who conceived a website that seemed to redefine our social fabric overnight;Eduardo Saverin, once Zuckerberg’s close friend, who provided the seed money for the fledgling company; Napster founder Sean Parker who brought Facebook to Silicon Valley’s venture capitalists; and the Winklevoss twins, the Harvard classmates who asserted that Zuckerberg stole their idea and then sued him for ownership of it.

Each has his own narrative, his own version of the Facebook story – but they add up to more than the sum of their parts in what becomes a multi-level portrait of 21st Century success – both the youthful fantasy of it and its finite realities as well.

Directed by the Oscar-nominated David Fincher (The Curious Case of Benjamin Button), The Social Network stars Jesse Eisenberg (Zombieland) as Zuckerberg, Justin Timberlake (Shrek The Third) as Sean Parker, who became Facebook's founding president; and Andrew Garfield (Lions for Lambs, Spider-Man2012) as Eduardo Saverin, the Facebook co-founder who fell out with Zuckerberg over money.

The film is written by Aaron Sorkin (A Few Good Men) based on the novel The Accidental Billionaires: The Founding of Facebook --  A Tale of Sex, Money, Genius, and Betrayal by Ben Mezrich.

Opening soon across the Philippines, The Social Network is distributed by Columbia Pictures, local office of Sony Pictures Releasing International.