Departed Trio Leonardo DiCaprio, Martin Scorsese and William Monahan Connected to the Gambler

Not so good news usually breaks late on the Friday, which causes it to be decidedly bizarre this very good news broke at 10:30 p.m. about the New England: Deadline reviews that Leonardo DiCaprio is mounted on star within the William Monahan-scripted remake from the Gambler, with Martin Scorsese mounted on direct. (The 3 males previous partnered for that Departed) The 1974 version from the Gambler — with different short story by Fyodor Dostoyevsky — adopted a brand new You are able to City school teacher (James Caan) who's hooked on gambling. Not sure yet if this will really film, however, since both Scorsese and DiCaprio have full dance cards for that expected future. [Deadline]

Fests intensify courtship with kudos hopefuls

Summit used Cannes to launch Terrence Malicks oft-delayed 'Tree of Life,' which won the Palme dOr. FremauxPereAfter "Black Swan," "The King's Speech" and "The Social Network" erupted from last fall's festivals to share eight Oscars and gross nearly $1 billion worldwide, the stakes have been raised in the courtship between festival program directors and the big Hollywood players. With so much cash and kudos on the line, festival toppers say negotiations over the selection of major titles have become more intense than ever. "It's a mutual seduction. Sometimes we're chasing them, sometimes they are chasing us," says Cameron Bailey, co-director of the Toronto Film Festival. "After last year, there is more of an awareness now among the major companies that a festival can do a lot for their film, not just in prestige but in dollars and cents." Tom Luddy, co-director of the Telluride Film Festival, agrees. "A lot of companies are definitely now holding films that could have been ready earlier in the year, because they see the fall festival circuit as what leads to awards, and from awards to a lot of business." In recent years, Toronto played a key role in altering the trajectory of pics such as "Juno," which wasn't even slated for a fall release before Toronto sought it out, and "Slumdog Millionaire," when the enthusiasm of the Toronto team helped give Fox Searchlight the confidence to pick it up from Warner. Bailey says he's careful not to overstate his pitch. "It's not so simple as for us to say, 'We can turn the world around.' The last thing we want is to force a film to play here, by giving the expectation that a film can explode out of Toronto and become a massive success, and then not be able to meet that expectation." He notes that sometimes a filmmaker has a preference for a certain festival. "Sometimes cost is a factor, where the producers can get the biggest bang for their buck, and we've done a good job in making that case for ourselves." Despite eschewing red carpets and PR hype, the more intimate and exclusive Telluride event has also grown in influence, with more distributors eager to submit their films for selection. "It's true that a fair number of Academy members have second homes in Telluride, or just attend the festival every year, and distributors have noticed that," Luddy says. "Sometimes we feel under pressure to take films, and sometimes they feel under pressure from us. Sometimes we get calls from four or five different people involved with the same film." Like Bailey, Luddy doesn't read scripts, but he keeps in close personal touch with directors. This year he's been tracking his pal Walter Salles for "On the Road," but Salles told Luddy he's still working on the sound and won't be ready for any fall festivals. Occasionally, fest directors can find themselves in the middle of a push-pull between a director and a distributor, when one side wants to take a film to a festival, but the other is reluctant. "It can happen both ways," Bailey says. "Sometimes a studio can see business advantages to a festival, but the filmmaker is not sure, or not ready. Sometimes we're in touch with individual filmmakers, and they are racing down to the wire to get their film ready for us, and you think, OK, that's how you work best, but sometimes you think, you're the kind of filmmaker who shouldn't rush." Cannes topper Thierry Fremaux courted Alejandro Gonzalez Inarritu to get his "Biutiful" for the 2009 fest, but the film wasn't finished in time. Inarritu was so sold on the idea of a Croisette premiere he held onto his movie for the following year, even though that meant financiers had to wait for a chance to recoup their investment. Terrence Malick was more reluctant to wait for another year after failing to finish "Tree of Life" in time for Cannes in 2010. He was reportedly nervous of exposing his film to the glare of the Cannes competition, but Fremaux was determined to hang onto the movie after being let down the previous year, and sales agent Summit was convinced Cannes was the best launchpad. Its judgment was vindicated when "Tree of Life" won the Palme d'Or this year. Of the A-list festivals, only Cannes has the kind of pull to persuade filmmakers and financiers to wait a whole year. But film selection is only part of challenge facing fest directors. "Everyone allows us to make our own decision about choosing a film," Bailey says, "but everything else is a negotiation -- what day the film plays, what theater it plays in, what time it plays, what else is screening at the same time, which talent can come and for how long and in which hotel." As program director at San Francisco, and previously at the Los Angeles fest, Rachel Rosen has long experience wrangling with the studios. "It's like two different organisms trying to find how it's possible to function together," Rosen says. "Studios are used to doing things their own way. But it works best for both sides if there's enough flexibility to talk about how to position a film for everyone's benefit." One typical area of potential conflict is the way a festival describes a film in its program. "It's not film criticism, but it's not a studio press release either. Studios always have this approved boilerplate, which has to be signed off by a lot of people, and it can be difficult for them to accept that a festival needs to put its own flavor on the material," Rosen says. On the other hand, she argues, "one of the things festivals need to understand is that you're setting off a series of contractual costs for a studio if you invite their film. You can't expect a movie star to turn up without hair and makeup." Yet paradoxically, Rosen believes the tighter economy is making the big studios more open to the extra value a festival launch can give to their marketing -- whereas it's making smaller distribs more cautious about whether they can afford the expense. Aside from the big three of Cannes, Venice and Berlin, the next tier of Euro fests have to shout a bit louder to get the studios' attention. International fest directors report that the local studio offices appear to have less and less freedom to negotiate, with decisions increasingly imposed from the top in Hollywood. The Locarno fest, which takes place in early August in the Italian-speaking region of Switzerland, made a big push to raise its profile in Hollywood following Olivier Pere's first edition as artistic director last year. Pere and his head of industry relations Nadia Dresti toured all the studios in Los Angeles last fall to pitch Locarno's spectacular open-air screenings on a vast screen in the Piazza Grande as a launchpad for late-summer releases. They were rewarded with the European premiere of "Cowboys & Aliens" plus "Super 8" from Paramount, and "Friends With Benefits" from Sony. "It's very tough to get studio films, and we put in very serious work this year to do it," Dresti says. "Last year, the competition and the cinephile side of the festival was perfect, but in the Piazza something was missing and the public was not happy. We had French directors and German directors, but not Hollywood stars." Another fest hoping for a higher Hollywood profile this year is Stockholm in November. The fest is bidding to secure the premiere of David Fincher's "The Girl With the Dragon Tattoo" from Sony, the biggest film ever shot in Sweden, ahead of its simultaneous Dec. 21 opening in North America and Scandinavia. That's a unique case -- the biggest film ever made in Sweden, a remake of the country's biggest global hit, based on a blockbuster Swedish bestseller. Fest director Git Scheynius is optimistic about her chances, but says in general, getting high-profile pics from the U.S. studios has become much harder in the past decade. The main problem, she says, is the threat of piracy, which has tightened the international release schedule. "Ten years ago, it was easier to get films, but now you have a very narrow timeframe in which films are available," she says. Piera Detassis, artistic director of the Rome Film Festival, laments that unless a big Hollywood film is opening in Italy that same month, the studios won't play ball. "For Rome, it's very important to acquire big American films," she says. "But in the last two years, it's been more and more difficult. The studios don't need to put their films in a festival, and it's very expensive for them. Big stars mean private planes, publicists, hair and makeup, personal assistants. In the past, the studios would cover the cost; now they ask 10 times the contribution from the film festival, but we only pay accommodation." By contrast, the London Film Festival, Rome's direct rival in October, has been embraced by the studios in recent years to launch the important British front of their awards campaigns. Studios have also started using the London event as a cost-effective base for European junkets. Artistic director Sandra Hebron, who is programming her final edition this year, says: "However hard I lobby them, they are only going to give us films if it makes sound commercial sense. But I certainly have to do less pushing than I used to." Contact the Variety newsroom at news@variety.com

'Rum Diary' Trailer: Johnny Depp Storms Puerto Rico

More than a decade after Johnny Depp took a trip into bat country in the adaptation of Hunter S. Thompson's "Fear and Loathing in Las Vegas," he is returning to the writer's substance-infused stories in the first trailer for "The Rum Diary." The rum certainly isn't gone in this film. Depp stars as journalist Paul Kemp who moves to San Juan, Puerto Rico to work for the major newspaper The Daily News in the late 1950s. He gets swept into a tangled mess of love, jealousy, treachery and alcoholism that is reminiscent of Thompson's other work. And apparently somewhere along the line he drank 161 nips of rum. Watch the trailer past the jump! "The Rum Diary" straddles the line between reality and drug-induced fantasy similar to "Fear and Loathing in Las Vegas," but this trailer for the movie makes it seem more grounded than its counterpart. It helps that costars Amber Heard, Aaron Eckhart and Richard Jenkins seem to be playing their characters pretty close to the cuff, though Giovanni Ribisi seems to be more in line with Benecio Del Toro's "Fear and Loathing" character. Though published in 1998, Thompson wrote the novel at age 22 in the early 1960s and was inspired by his own experiences working at a newspaper in Puerto Rico. British filmmaker Bruce Robinson wrote the screenplay and directed the movie after taking more than a decade off from Hollywood. "The Rum Diary" hits theaters October 28, 2011. What did you think of "The Rum Diary" trailer? Tell us in the comments section below or on Twitter!

Toronto fest adds 13 to Masters

TORONTO -- Gus Van Sant's "Restless," Jean-Pierre and Luc Dardenne's "The Kid With the Bike" and Aki Kaurismaki's "Le Havre" are among 13 titles added to the Toronto Film Festival's Masters program, it was announced Tuesday. Fest also unveiled 25 first and second features from around the globe screening in Discovery, as well as its Mavericks and free screen slates. The official schedule of public and industry screenings was also released Tuesday. Masters unspools North American preems of Alexander Sokurov's "Faust," Chantal Akerman's "Almayer's Folly," Bruno Dumont's "Outside Satan," Robert Guediguian's "Snows of Kilimanjaro" and Bela Tarr's "The Turin Horse," as well as the international preem of Hirokazu Kore-Eda's "I Wish" and the Canadian preem of Nuri Bilge Ceylan's "Once Upon a Time in Anatolia." Ryan O'Nan's music-fuelled road trip "The Brooklyn Brothers Beat the Best" world preems in Discovery, as does Dain Said's dark homecoming drama "Bunohan," Axel Petersen's nightclub-set chiller "Avalon," Ngoc Dang Vu's romance rivalry "Lost in Paradise," Sebastian Brahm's existential "Roman's Circuit" and Emmanuelle Millet's coming-of-ager "Twiggy." Discovery screens the international preems of Dee Rees' "Pariah," Rolando Colla's "Summer Games," Joseph Israel Laban's "Cuchera," Zaida Bergroth's "The Good Son" and Frederic Louf's "J'aime regarder les filles." Susan Youssef's "Habibi" receives its North American preem in the program, as does John McIlduff's "Behold the Lamb," Rebecca Daly's "The Other Side of Sleep," Pablo Giorgelli "Las Acacias," Tomas Lunak's "Alois Nebel," Marco van Geffen's "Among Us," Milagros Mumenthaler's "Back to Stay," Karl Markovics' "Breathing," Ruslan Pak's "Hanaan," Julia Murat's "Historias Que So Existem Quando Lembradas," Nicolas Provost's "The Invader," Haofeng's "The Sword Identity," Angelina Nikonova's "Twilight Portrait" and Runar Runarsson's "Volcano." Mavericks' slate of celebrated artists, newsmakers and industry legends in conversation unveils the world preems of Albert Maysles' "The Love We Make," documenting Paul McCartney's prep for his October 2001 9/11 memorial concert in New York City, and Erik Canuel's film of Canadian thesp Christopher Plummer's Tony-winning "Barrymore." Frequent collaborators Neil Young and Jonathan Demme present the world preem of "Neil Young Life," chronicling the Toronto native's musical return to the city's legendary Massey Hall. The program hits the front page with world preeming "The Island President," followed by a live onstage chat with President Nasheed of the Maldives, who has taken on world superpowers in the struggle to save his island nation from rising seas. Omnibus pic "Tahrir 2011: The Good, the Bad, and the Politician" offers three cinematic portraits of Egypt's political revolution. Mavericks also features a dialogue between Canadian filmmaker Deepa Mehta and Salman Rushdie (including a peek at scenes from Mehta's adaptation of "Midnight's Children"), conversations with Francis Ford Coppola ("Twixt") and with Tilda Swinton (Lynne Ramsay's "We Need to Talk About Kevin"), and a trip down memory lane with Sony Pictures Classics founders Michael Barker and Tom Bernard commemorating the company's 20th anniversary. The festival's free screen offers Mark Cousins' 15-hour world-preeming docu "The Story of Film: An Odyssey" (two presentations of five three-hour instalments), and Jafar Panahi and Mojtaba Mirtahmasb's "This Is Not a Film." The Toronto Film Festival runs Sept. 8-18. Contact the Variety newsroom at news@variety.com

TV in hyper drive

NBC partnered with Bloomingdale's on cross-promotional efforts for its upcoming "The Playboy Club." "The Good Wife" ad Fox's "New Girl" Ginnifer Goodwin in "Once Upon a Time" CBS' "Two and a Half Men" campaign is purposely mysterious. Fox is spending big bucks in promoting "The X Factor." While ABC is treating the last season of "Desperate Housewives," above, as an event, its campaign for new skein "Once Upon a Time" will have the feel of a movie launch. "The Secret Circle" ad Fox isn't waiting for the fall season to start to pair its new comedy "New Girl" with one of its hottest shows, "Glee": When "Glee: The 3D Concert Movie" opens in theaters Friday, fans will get a sneak peek at "Girl" in the form of a 3D trailer for the series specially made to accompany the film. It's just one of the ways broadcasters are increasingly -- and in this case literally -- adding dimension to their marketing efforts as the countdown to the fall launch begins. It's not easy to stand out this time of the year due to the unfortunate rhythms of the broadcast business, as advertisers have conditioned the TV industry to frontload the season with series launches. Fourteen new series are scheduled to bow during premiere week (Sept. 19-25) alone, on top of the 44 returning series also seeking attention. And these shows aren't just competing with each other but with an entertainment ecosystem loaded with theatrical, cable and syndica- syndication fare. Bowing in the fall certainly isn't getting any easier: Of the new TV shows introduced in the 2010-11 season, only 23% made it to a second year -- an even worse percentage than the 27% in the strike-affected 2007-08 season. But such long odds haven't stifled network efforts to distinguish their new shows from the pack. Here's how they hope to do so: Fox Fox has frontloaded its fall with high-profile product aimed at rectifying the ratings softness the network often experiences in the fourth quarter. Joe Earley, prexy of marketing and communications at the net, estimates that the campaign for "The X Factor" is probably the most expensive in broadcast history, though he declined to divulge a number. On top of "X Factor" and "Girl," Fox has to introduce big-budget drama "Terra Nova." "Normally, we have an A-level show and maybe a B and a B-," Earley said. "Here we have an A++ and two other As. It's absolutely taxing." Helping cover the budget for "X Factor" is the fact that its 10-month campaign can be defrayed across two different fiscal years at News Corp. A 100-page marketing plan devoted to the unscripted series breaks it into five phases that extend all the way into December rather than ending at the series' Sept. 21 launch. Fox has built buzz in recent weeks with promotion focused on the return of Simon Cowell. The third phase of the "X Factor" campaign began earlier this week with a series of spots intended to educate U.S. viewers on the skein's format and its differences from "American Idol." CBS With just five new series set for fall, CBS has little risk of spreading its marketing dollars too thinly. But the network will be just as focused on getting the word out on scheduling shifts for a pair of its existing shows -- "The Good Wife" moving to Sunday, "CSI" moving to Wednesday -- as it will be on supporting series premieres. "We have two shows changing time periods that are very important to us," said George Schweitzer, prexy of CBS Marketing Group. "We are treating them like new shows." That's especially true of "Good Wife," which has raised eyebrows with sexy key art of star Julianna Margulies with the tagline "New day. New time. New beginning." With mounting critical acclaim and a critical turning point in the storyline that will send the title character in a new direction, CBS is hoping the third season really will mark a "new beginning" for the series. "We want to use that phrase as a concept to recruit more viewers to the show," Schweitzer said. Another high-priority returning series for CBS is "Two and a Half Men." To build suspense, the network is taking a less-is-more tack via a teaser campaign that reveals little about the introduction of Ashton Kutcher. ABC The Alphabet net will also have a big marketing priority with a returning series: "Desperate Housewives." The network's disclosure last week that the show's eighth season will be its last not only allows its creators to send it out in high style but provides a marketing hook that will eventize the series on a Sunday where "Housewives" needs to be strong to support multiple new series launching on the night. Don't underestimate the size of the sendoff, warns Marla Provencio, exec VP of marketing at ABC. "For 'Desperate Housewives,' we're certainly treating its departure just as big as 'Lost,'?" she said. ABC is taking a more staggered approach to its series-launch pattern than its counterparts, which is a blessing for Provencio. She points to the example of drama "Once Upon a Time," which bows Oct. 23, relatively late in the fall. That's all the better to accommodate a unique series for which Provencio believes longer spots will be needed to explain its complex premise (the storyline is split into dual worlds). Fittingly for a series with a distinctly theatrical feel, the "Time" marketing campaign will have the feel of a movie launch, complete with outdoor ads that will showcase individual characters as opposed to the series itself. "Taking us out of the clutter of September really allows us to have a tremendous platform," Provencio said. NBC Just as important as what you promote is where you promote. For NBC, going into the fall for the first time under the new ownership of Comcast provides a distinct advantage when you take into account the sheer breadth of the internal assets at the network's disposal: countless cable channels and the distribution footprint of the cable operator on air, online and VOD across 26 million homes. NBCUniversal has already demonstrated the might of Project Symphony, a cross-marketing extravaganza in which the conglom brings all of its assets together to support selected productions, as it did to much success already with NBC's "The Voice" and Universal Pictures' "Hop." "The fall NBC slate is of critical importance to the company at large," said outgoing NBC marketing chief Adam Stosky, who is stepping aside for Showtime alum Len Fogge later this month. "The reach of the entire company is astounding and unparalleled." The Peacock has also built out a retail element to its marketing plan through a partnership announced earlier this week with Bloomingdales, which will feature stars of new series like "The Playboy Club" in stores and catalogs. The CW If there's one sort of promotional platform that has become increasingly important to play, it's social networks like Facebook and Twitter, where the crucial currency of word of mouth takes on an entirely new meaning. Facebook, in particular, is instrumental in the CW's efforts to tout its new shows to a target demographic of young women. The network's strategy is to take the rabid fanbase already congregating around fan pages for established shows like "Vampire Diaries" and feed them exclusive materials like key art for a similar show, in this case "The Secret Circle." "You have to start with that loyal base so when you launch, you have a substantial audience that you can talk to," said Rick Haskins, exec VP digital, new technologies, marketing and brand strategy (who is also exiting his post later this month). But online is just part of an overall marketing mix that must deliver some kind of unconventional execution or risk fading into the woodwork. The CW hopes to do that in a special "Circle" insert for the Sept. 9 fall preview issue of Entertainment Weekly in which readers can light and blow out an electronic flame atop the illustration of a candle by touching metal disks and a wind sensor embedded on the page. Haskins said: "Whatever we do, we're just not going to do cookie-cutter campaigns." Contact Andrew Wallenstein at andrew.wallenstein@variety.com

The famous host oprah to get Academy's Hersholt Humanitarian Award

James Earl Johnson and makeup artist Dick Cruz happen to be selected to get Honorary Honours in the Academy of movement Picture Arts and Sciences. The famous host oprah Winfrey is going to be honored using the Jean Hersholt Humanitarian Award.The honours, that have been chosen Tuesday evening through the Academy's board of governors, is going to be passed out in the 3rd Annual Governors Honours, which is held November. 12 in the Grand Ballroom in the Hollywood & Highland Center.While she's best known as the TV host and producer, Winfrey received an Oscar nomination as well as supporting actress on her film debut in 1985's "The Colour Crimson," and she or he makes several Oscar show looks since. Actually, in the 67th Oscars in 1995, she presented the Hersholt Award to Quincy Johnson. Now it's her use accept the recognition, an Oscar statuette provided to a person "whose humanitarian efforts have introduced credit towards the industry."Winfrey's philanthropic efforts include Oprah's Angel Network, the The famous host oprah Winfrey Foundation and also the The famous host oprah Winfrey Leadership Academy for Women, which opened up in Nigeria in 2007.Despite his ubiquitous movie presence -- not just did he lend his voice to Darth Vader in "The Exorcist," but he's made an appearance in additional than 50 films -- Johnson only has received one Academy Award nomination: A best lead actor nom in 1971 for his performance as boxer Jack Jefferson in "The Truly Amazing Whitened Hope." He earned his film debut in 1964 in Stanley Kubrick's "Dr. Strangelove or: Generate An Income Learned to prevent Worrying and Love the Explosive device." His other films have incorporated "Area of Dreams," "Visiting America" and a number of the Tom Clancy/Jack Ryan movies, starting with "The Search for Red-colored October," by which he performed Vice Admiral James Greer.Although he's won only one Oscar, for that make-up in 1984's Amadeus, and was nominated for an additional, for 1989's "Father," Cruz leaves his mark on a large number of films, generating unofficial standing because the "godfather of makeup." He started his career in 1945 as NBC's first make-up guy and continued to lend his talents to such films as "The Godfather," "AlienInch and "Taxi Driver." Along the way, he's also trained an entire generation of award-winning makeup artists in the craft.Even though it is usually known to because the honorary Oscar, the Academy's Honorary Award is offered for "remarkable distinction in lifetime achievement, exceptional contributions towards the condition of movement picture arts and sciences, or outstanding plan to the Academy.Author-director Phil Robinson will produce the events, which aren't broadcast, together with the creating team of Charlie Haykel and Juliane Hare of Don Mischer Prods.A brand new tradition, the Governors Honours were implemented 2 yrs ago as a means of honoring the honorary Oscar those who win with no time limitations from the annual Oscar broadcast, therefore clearing in the broadcast to pay attention to its competitive groups. Although since among the 2010 honours will Winfrey, it is a safe wager she may also be treated to not only a passing bow throughout the broadcast.This past year, Francis Ford Coppola was the person receiving the Thalberg Award, which recognized his creating career, while historian Kevin Brownlow and actor Eli Wallach were available to get Honorary Honours. Director Jean-Luc Godard seemed to be honored, although he chose to not attend the ceremony. The Hollywood Reporter

'Up All Night' Creator Addresses Plot Changes, Maya Rudolph's New Role

Maya Rudolph, Will Arnett and Christina Applegate at TCA NBC's Up Through The Night, starring Christina Applegate, Maya Rudolph and can Arnett, is certainly going through some changes. Initially occur a pr firm, the choice to retool the series' plotline, dedicated to new parents (Applegate and Arnett) because they attempt to balance their house and work lives, would be a deliberate one. "A talk show for Maya's character Ava is simply more enjoyable,Inch executive producer Emily Spivey told reporters Monday mid-day in the Television Experts Assoc. press tour. "It appeared just like a natural progression." She added: "After we began speaking through it, it simply been more fruitful" when it comes to story. Spivey, who labored carefully with executive producer Lorne Michaels, Rudolph and was close with Arnett through his wife Amy Poehler, stated that Applegate's character Reagan will function as the show's producer. With 72 hours of reshoots for that pilot, Spivey stated the new place of work atmosphere come in "a daytime talk show" format, "more about the The famous host oprah track" when it comes to being "inspiring for ladies.Inch "When individuals say daytime talk show, the very first word is The famous host oprah," Rudolph stated. "Anybody that's doing daytime talk holds her in high esteem. ... This character's journey is looking to get there. She's got a lengthy way." Michaels, who were built with a submit the casting and also the pilot process for Up Through The Night, stated that although the setting has transformed for Applegate and Rudolph's figures, the dynamic doesn't. "The dynamic doesn't change much," he stated. "Work some of it changes a good deal between Christina and Maya's character ... they're partners in different ways.Inch When it comes to in which the show was moving in future episodes, Spivey revealed an Applegate suggestion that they would incorporate which involves Arnett and Applegate's alter egos determining what "to call the infant's no-room.Inch Here are a few other highlights in the panel: "I wouldn't state that that's exactly what the show is all about that people're neglecting the kid,Inch Applegate joked when requested concerning the poster by which she, together with Arnett and Rudolph, are noticed smiling having a screaming baby without anyone's knowledge. "I've got a question: The number of individuals are playing Angry Wild birds at this time?,Inch Applegate requested the reporters Michaels stated that he's always attempting to revive the range show tradition. "We would like the infant to thrive clearly and obtain bigger," Spivey stated when requested whether or not they'd be seeing the infant develop throughout the series' run. "She certainly needs to develop cause I believe at each stage of development, there's something amusing." Rudolph deadpanned: "I heard they're not too amusing at 13 therefore we can hold on there.Inch Up Through The Night premieres Wednesday, Sept. 14 at 10 p.m. before moving to eight p.m. the next week. TCA Christina Applegate Lorne Michaels Will Arnett TCA Summer time Press Tour 2011